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.

The work of Pascal Hachem (Lebanese born in 1979) involves actions of displacement. These are real actions, not videos, made either by the artist himself or by objects he sets up. He is inspired by aspects of everyday life in the city, which tend to contextualize his way of thinking and influence his work in an unconscious way that he cannot escape. He does not impose any rules on himself, but rather is driven to produce by a single impressionable time.

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.

After studying photography at the Azad University of Tehran, which taught him the role of photography during the Iran-Iraq war, Arash Hanaei (born in 1978 in Tehran, Iran) developed a practice combining mediums and techniques. Since 2015, his practice has been evolving from photography and documentary towards a more speculative and intermedia approach, questioning post-Internet strategies during a political crisis and a crisis of representation.

Shuo Hao is a contemporary artist based in Paris. After graduating from the Central Academy of Fine Arts in Beijing (CAFA), she studied at the Sorbonne and then at the Haute École des Arts du Rhin (HEAR). Represented by Galerie Derouillon, Shuo Hao has held several solo exhibitions in Paris and has participated in numerous group exhibitions internationally. Her work explores the intersection of dual cultural iconographies and the metamorphosis of the body.

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.

HEADBUTT, co-founded by Vanille Ferragu and Marie Manguele, reinvents the electronic music scene by creating new imagery shaped by their perspectives as mixed-race women, while paying tribute to Black cultures. Between club nights and THINK HEADBUTT, music, bodies, performance, and machines come together to rethink celebration as a space for play, freedom, and shared narratives.
Machines are highlighted, but the visuals, always handmade, question the use of AI today, celebrating imperfection, unpredictability, and free expression.

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.

My-Lan Hoang-Thuy graduated from the École des Beaux-Arts de Paris. She was awarded a residency at the Académie des Beaux-Arts and received the Yishu 8 Prize. She has held solo exhibitions in museums (MEP) as well as in several galleries, including Galerie Mitterrand, Project Native Informant, and Galerie Semiose.
Her work has been shown in various institutions (Stedelijk Schiedam Museum, FRAC Île-de-France) and is included in the collections of FRAC Auvergne, FRAC Champagne-Ardenne, FRAC Nouvelle-Aquitaine, the MEP, and the City of Montrouge.

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.

Maria Ibanez Lago (born in 1960 in Buenos Aires) has participated and launched collective artistic projects, within which she also served as curator. She works on the materiality of the image and its relation to objects in order to evoke a dramaturgy. Painting is examined in its historical context, and the boundaries of the format are expanded towards its defining limits, attempting to transform it into an object, a sculpture.

Lev Ilizirov (born in 1979 in Russia) emigrated to Israel in 1996. After studying at the Bezalel Academy of Arts in Jerusalem, he chose to focus on documentary photography. The incorporeal message and the abstraction of the world were the main aims of his work then. At the Royal Academy of Fine Arts in Amsterdam, the elements and the frame of daily life became the basis of his work. The unexpected, created by the accidental interference of external factors, an imperceptible phenomenon, is what he tries to capture with his camera, later giving it shape through installation.

Clara Imbert ( born in 1994), graduated from Central Saint Martins in 2017. Her approach consists of an exploration of the relationships between the notions of reality and illusion, space and perspective, the object itself and the observer. She draws on physical, mathematical and philosophical theories to experiment with different materialities and thus unravel intangible ideas. She studies the invisible to reveal new dimensions. Her research leads to the realization of projects that can take various forms such as photography, sculpture and installation.

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.

Daniel Jablonski (Rio de Janeiro, 1985) is an artist, teacher, and researcher. He applies research methods to his own daily life to produce works that function as true “case studies.” These research-creation objects can take various forms—such as installations, photographs, objects, performances, or writings—and be presented in exhibitions, publications, or conferences. For many years, he taught and coordinated educational programs at the School of Arts in Rio de Janeiro and at the São Paulo Museum of Art. Currently living between Brazil and France, he teaches contemporary art history at CY Cergy Paris Université and is pursuing a practice-based PhD at ENSAPC.

Luke James’ practice, composed mainly of sculptural work, establishes a physical relationship with materials and space. His sculptures can be understood as a series of sensitive gestures applied to materials treated in a raw manner. His work develops between dynamics of force and curiosity: humans, animals, architecture, and social classes are among the elements of interaction that the artist observes and questions in his daily practice.

Myriam Jarmache is an opera singer and dancer. All her research links these two practices: Becoming a body and a voice without hierarchizing these modalities. Initially trained at the Radio France Master's degree, she went on to follow a multi-disciplinary path combining singing, contemporary dance and theater. Transmission and laboratories around song and dance are a passion-creation in their own right. She has worked with François Chaignaud, Les Cris de Paris and Magali Dougoud, and is a member of the La Ville en Feu and La Grosse Plateforme collectives. She joins StudioK at POUSH in October 2022, and continues her research into the decompartmentalization of opera singing, or how to desacralize a so-called "learned" art, summoning the intimate rather than the spectacular.

Ellande Jaureguiberry (born in 1985 in Paris) is a sculptor and illustrator who uses a wide range of materials and techniques, but he focuses especially on ceramic. He develops a shapeshifting work that questions the relation of belonging and resonance between the human mind and the universe, a dialectic of body and space, attempting to reunite them as paradoxical aspects of one reality. Rooting his research in a relationship with the unconscious, he explores the links between architecture and nature in a movement between structure and ornament.

Ángela Jiménez Durán (born 1996 in Madrid) graduated from the École d'arts de Paris-Cergy in 2019. She lives and works between Paris and Madrid. Her artistic practice revolves around installation and sculpture in conjunction with the written word, blending science fiction, geology and biology, exploring uncertain futures. Inspired by magic realism, her works unfold multiple narratives, provoking feelings of strangeness, like clues to an enigma to be solved.

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.