Lucas de Montalembert holds degrees from ESAD de Reims and the Sandberg Instituut (Gerrit Rietveld Academie) in Amsterdam. Through painting, installation, and video, his practice explores how forms of restraint, as well as the conditions and variables embedded within built environments, shape perception, relationships, and collective memory. His artist residencies notably include: Ca’Buccari (Venice, 2024); Fondazione Antonio Ratti (Como, 2024); and SOMA Summer (Mexico City, 2026).

Judith Deschamps (born in 1986) studied at the Haute École des Arts du Rhin in Strasbourg (2011), at the Royal College of Art in London (2018) and at the École Universitaire de Recherche ArTeC (2020). Exploring materials provided by language, the body and digital technologies, her work revolves around the relationship between humanity and technology.

Margaux Desombre (born in 1988 in Neuilly-sur-Seine) graduated from the Ecole d’Architecture de Versailles and has worked since 2015 within her own firm. She studied painting in Paris and Buenos Aires, and architecture with Jean Nouvel, Nicolas Laisné and Dimitri Roussel. Her painting, whether it is figurative or abstract, is closely linked to the city and to spatiality. Lights, materials and colors are at the heart of her work, in which space, sometimes physical, sometimes immaterial, evokes the power of memory and of movement.

For Antonin Detemple (born in 1990 in Strasbourg), the choice is made not to modify the state of things too much, but simply to reproduce them, to transport them from their native context into another. In the multiple forms that his work takes - sculptures, installations, still or animated images, editions - the logic is that moving a subject is already making it evolve. A tinkerer of fantasy, he sees in every form the evidence of a historical movement and perceives in it correlations to be dismantled.

The work of Hugo Deverchère (born in 1988 in Lyon) attempts to propose a set of experiences that are as many ways to question and evaluate our relationship to the world. Whether it is using narratives, collected data, captured, fabricated or simply found images, his research uses processes of modeling, transposition or conversion and functions by going back and forth between past and future, memory and anticipation.

Aliou Diack, born in 1987 in Senegal, is an artist living and working in Dakar. Trained at the École Nationale des Arts in Dakar, he develops a painting practice deeply rooted in nature and the animal world, inspired by the landscapes of his childhood. Through layered compositions combining plant-based pigments, fields of color, and assertive lines, he creates universes in which animal and vegetal forms emerge, camouflage themselves, or dissolve.
His practice explores notions of transformation, exchange, and circulation “to give and to receive” conceiving painting as a space for sharing and transmission. Since 2014, he has participated in numerous international exhibitions and residencies across Europe and Africa.

Julien Discrit (born in 1978 in Epernay) graduated from the École d’art et design de Reims. Geography as an attempt to “describe the world” — or at least to give a possible representation of it — is an essential inspiration for Julien Discrit. Giving shape to the gaps, ambiguities and paradoxes that appear between the map and the territory: this could summarize his practice, which takes the form of installations, images and sculptures. Though his works usually seek to create a tension between the visible and what remains hidden, his recent pieces use traces, prints and memories as favored materials.

Valentina Dotti (born in 1987 in Chiari, Italy) studied at the Accademia di Belle Arti SantaGiulia and at the Beaux-Arts de Clermont Métropole. She uses various media, such as video, photography, or molding, exploring the construction of proliferative forms, in the manner of an organic architecture, referring either to the infinitely large or to the scale of living organisms.

Double Séjour is a curatorial project founded in 2016 by Thomas Havet, an architect by training, in the eponymous space of his apartment. Even outside of its original location, Double Séjour keeps its founding concept and tries to explore the relationship between each work and the others, and the relationship between the works and the spaces. From organizing group exhibitions to publishing, Double Séjour opens new spaces of experimentation for artists.

Emmanuelle Ducrocq (born in Morocco in 1969) arrived in Paris at the age of 17. She successively studied drawing, theater at Paris VIII and then landscape at the École Nationale Supérieure du Paysage de Versailles. A common denominator imposes itself and becomes the main subject of her research as a visual artist: space and by extension what links us to places. Her career oscillates between the realization of in situ creations in residence in France and abroad and a research in the studio where introspection questions her obsessions: the vertical and the horizontal, the opening and the closing, the repetition and the piling up, through symbolic elements such as the wall, the door, the circle and the chair as well as the objects she stages. In 2019, she graduated from the École Nationale supérieure des Arts Décoratifs de Paris.

Rudy Dumas (born in 1993) is a visual artist and circus performer from the Traveller community. His childhood, spent on the road following his family’s circus, deeply shaped his relationship to space and material. His artistic territory draws from marginal landscapes and abandoned objects, parking lots, embankments, car wrecks, cracked walls, which become the materials for a reflection on memory, persecution, and marginality. Through sculptures in concrete, asphalt, and bronze, he questions the weight of remnants and their symbolic potential. His works take the form of concrete columns inlaid with bronze nuggets, telephone booths embedded in cinderblock walls, or asphalt blocks pierced with nails recalling those of the Crucifixion. In a performative video, he tattoos the word Zigeuner, a derogatory term used for Sinti and Roma people persecuted during the Second World War, across his knuckles, inscribing his body within a collective and political memory. His work is conceived as a way of “pushing the center toward the periphery.” His research has been presented in recognized institutions and contexts, including the Art Press Biennial at MAMC Saint-Étienne in 2021 and the exhibition Les Rois Morts at Galerie Suzanne Tarasiève in 2025. His work has been featured in Libération, Le Monde, and ArtPress, which have highlighted the significance of his practice in current debates surrounding the reparation of Romani memory and identity.

Vadim Dumesh (born in 1984) is a director and producer of documentary films, a researcher and a journalist. He studied economy, cinema, arts, and public affairs at the Stockholm School of Economics in Riga, Sam Spiegel Film and TV School in Jerusalem, and at Sciences Po Paris. Originally from Latvia, he cultivates a transdisciplinary approach and is studying the potential of co-creation practices, which he develops in his dissertation, The documentary author and collective creativity in the digital age, for his PhD in Art Studies and Practices, jointly led by the Université du Québec in Montreal and Le Fresnoy – Studio National des Arts Contemporains in Tourcoing.

Kenny Dunkan (born in 1988 in Pointe-à-Pitre, Guadeloupe) frequently draws from the visual culture of the Caribbean, particularly the culture of carnivals, periods of social, cultural, and political role reversal, to develop an oeuvre that addresses the French colonial heritage and the persistence of its modes of representation. For this, the artist often uses his own black body as a subject, which he stages through various mediums, ranging from video to performance, sculpture, and assemblage.
Having graduated from the National School of Decorative Arts in Paris in 2014, he won the ADAGP Visual Arts Prize at the Salon de Montrouge in 2015. From 2016 to 2017, Kenny Dunkan was a resident at the Villa Medici, the French Academy in Rome. In 2018, he participated in the opening exhibition of Lafayette Anticipations. Three years later, he exhibited for the first time at the Les Filles du Calvaire Gallery in Paris and joined the CNAP collections with the installation "COSMOS" in the same year. He became the laureate of the first Reiffers Art Initiatives mentorship, which then presented his work at the inaugural exhibition of the program at the Studio des Acacias by Mazarine.

François Durel’s work examines how architectural fragments and everyday mechanisms retain traces of secrecy, desire, and discipline. By reorienting the spatial logic of objects, he reveals the subtle pressures and prohibitions embedded in the ordinary. Moving along the edges of the symbolic and the institutional, Durel constructs a distilled lexicon of withheld access, muted authority, and destabilized intimacy.

Margot Duvivier graduated from the École des Beaux-Arts de Lyon. Independent graphic designer who specializes in editorial design, she cofounded Galerie Takini in 2017 in Lyon with Armando Andrade Tudela and created the new identity of the Centre régional d’Art Contemporain de Montbéliard and of FRAC Champagne Ardennes, in duo with Léa Audouze.

Pieter Eliëns, born 1989 The Netherlands, creates sculptural installations in which material such as metal, fabric, and plaster are combined with found objects and photographic images. The artist describes his works as “temporary monuments” to universal notions of fragility, care, support, and loss. He is interested in how monuments and human action can commemorate and how emotion is stored into matter. His works pay attention to objects and places that are usually overlooked or neglected, and explore the emotional charge carried by certain materials. The aspect of gesture, of ‘hand-made’ quality is important in his work. Many of his sculptural works deal with the notion of order and chaos and tension and suspens. He is interested in these as for him they hold powerfull metaphors that are closely linked to human behaviour.

Charlotte EL Moussaed graduated from the École Nationale Supérieure des Beaux-Arts de Paris in 2013 and from the Documentary School of Lussas in 2020. During professional experiences of exhibitions and residencies she developed subjects that are now part of her body of work: translation, reflection on oral and visual languages and the issue of bodies in the image, both in film and photography. The questioning of the portrait and human presence are issues that deeply motivate her.

Morgane Ely was born in 1995 in Hayange, Lorraine. She graduated from Beaux-Arts de Paris in 2021, where she was introduced to silkscreen printing. During her studies, she spent 6 months at Tokyo's Musashino Art University, where she was trained in printmaking and woodcutting by masters Akira Suzuki and Tsuyoshi Hirai. She is the winner of the Prix du Prestige Takifuji (2021), the Prix Rose Taupin - Dora Bianka (2022) and the Prix Villa Noailles aux Révélations Emerige (2023).

Justine Emard, artist, explores new relationships between our lives and technology. By combining different image technologies, she situates her work in a flux combining robotics, neuroscience, organic life and artificial intelligence. Her work is exhibited in France and abroad. In 2023-2024, she is guest artist-professor at Le Fresnoy, studio national des arts contemporains. Her work is included in national and international collections. In 2023, she won the “100 femmes de culture” award in France. Justine Emard is artistic director of the French Pavilion's permanent exhibition for the 2025 World Expo in Osaka.

Emergency is a curatorial group and an independent exhibition space that opened in Paris in 2025. It was founded by artists and curators Ivan Volkov, Misha Gudwin, and Iuliia Skromnaya. We organize group and solo exhibitions and support emerging artists. Our focus is on experimental and contemporary art within an international context. Our first space was located in a historic building near Hôtel de Ville. In 1849, the first emergency medical service in Paris, Assistance Publique, was established there to respond to urgent calls
from citizens. The name Emergency reflects our sense of urgency and energy, the same spirit we bring to presenting new and experimental art. In January 2026, the gallery relocated to its new home at POUSH, an art center situated in the Parc des Portes de Paris in Aubervilliers."

Andrew Erdos (b. 1985) is an artist based in Paris. His practice often combines traditional glass-blowing and glass-sculpting techniques with digital media and mixed media sculpture. His work has been exhibited worldwide, including at Mobilier national Paris, Hôtel des Arts, Toulon; Kemper Museum of Contemporary Art, Kansas City MO; Orlando Art Museum, Orlando, FL), Oklahoma City Museum of Art, Oklahoma City, OK; Corning Museum of Glass, Corning, NY; State Hermitage Museum, St. Petersburg; Hunterdon Art Museum, Clinton, NJ; Nerman Museum, Overland Park, KS; National Center for Contemporary, Art Moscou; and Palais-Royal, Paris.
Andrew Erdos is the founder of POUSH Hot Glass, Île-de-France's first public-access glass studio, that opened in April 2025.

Alexandre Erre (born in 1990 in Nouméa) studied at the École d’Art et de Design de Grenoble and at the École Nationale Supérieure d’Arts de Paris-Cergy. Through the use of installations, sculptures, videos, photographs, interventions in public space, performances or engravings, he dissects codes and conventions to question and produce memory, narrations, and fictions. His work revolves around the island of his birth, New Caledonia, and more generally around processes of exoticization, racialization, gentrification, domination, or cultural hierarchization.

Yoann Estevenin (born in 1992 in Cagnes-sur-Mer) graduated from the Beaux-Arts de Paris with honors and he was awarded the Prix des Amis des Beaux-Arts in 2018. Between fascination for the strange and festive rituals, his work advocates a vision of contemporary drawing resolutely placed on the side of the living and the vibrant.

"Cinema is deeply ingrained in Clément Étienne’s practice. More than the narratives he creates, the artist is interested in cinema’s materiality: light, sets, space and the processes that give rise to the image.

His work draws on science fiction narratives, not to illustrate their fictional worlds, but to explore the transformations taking place in our environment. Deserted hotels, abandoned theatres, stark architectural structures and landscapes ravaged by the elements form spaces where nature seems to be reclaiming these places."

Excerpt from the introductory text by Steven Vandeporta.