Atelie vivo is an independent interdisciplinary art collective founded in 2015 that focuses on the practice of handmade textile garments. Their creative concept is the autonomous development of national handicrafts, and through research and experience sharing, they explore a diversified collective lifestyle.
The group’s work has been exhibited in several important cultural institutions and art spaces, including Sescs, Fabricas de Cultura, Casa de Criadores, CCSP, Can Batllo (Barcelona), Rosset (Arnhem, Netherlands), lnstituto Acaia, and many more. Recent projects include: “We Are Together” exhibition at the Museum of Fine Arts in São Paulo, Brazil, in 2019; In 2022, he was invited to participate in the artistic residency of the Municipal Theater of São Paulo; Presented at the “State of Fashion” Textile Biennale in Arnhem, the Netherlands; In the same year, during documenta 15 in Kassel, he collaborated with the Public Daycare project. In 2023, he was invited to participate in the 5th South American Biennial in Argentina.

My Ikebana practice, deeply rooted in finding harmony within nature, extends beyond aesthetics to encompass a profound sense of well-being and a commitment to sustainability. Inspired by the interconnectedness of all living things as well as its psychological impact, I explore themes of resilience, impermanence, balance, making choices and respect for the natural world where we, human beings, are a part of in my Ikebana practice.

Drawing upon the rich cultural heritage of Ikebana, I seek to create work that not only celebrates the beauty of nature but also serves as a catalyst for social and environmental change. Through my Ikebana practice, I aim to foster a deeper understanding of the delicate balance of social and eco systems and encourage audiences/participants to consider their own impact on society.

Lucija Šutej is London-based independent curator and author with an educational background in Design. She was previously the Creative Director of Mayfair Art Weekend and Curator and Head of the International Art Residency at MGLC (The International Centre of Graphic Arts/Ljubljana Biennial of Graphic Arts). Her last large scale exhibition and monograph at the former institution was Photo/Print. Along with fellow MGLC curator Gregor Dražil, she represented the team of the institution at the Perennial Biennial; a festival co- organized by MGLC, Liverpool Biennial, Berlin Biennale, RIBOCA and Bergen Assembly.

Šutej runs Sursuma, dedicated to cultural interchange to enable wider learning and promote sustainable thinking for the future of the visual art fields (specifically art, architecture and design – through promoting the works of cutting edge innovators and creatives).

Creative and versatile, Rhaissa Bittar works as a singer, art director, director of stage productions and music videos, screenwriter, actress, voice-over artist, founder of the Sarau As Mina Tudo festival, and director of the #ArtBittar agency.

As a music video director, she has won awards at the Gramado Film Festival and the Profissionais da Música Awards for two consecutive years. She also worked as the art director for the Fenae 2018 show and as the scene director for Fenae 2022, in addition to directing various stage productions in São Paulo’s music scene, including her own Matéria Estelar, co-directed with the world-renowned artist Jum Nakao.

As a singer, she is currently recording her fourth album and has already released three albums: João (2019), Matéria Estelar (2014), which was nominated for Best Album at the Brazilian Music Awards, and Voilà (2010). She integrates various artistic expressions in a playful way, and her show is a journey through literature, visual arts, audiovisual, fashion, and music.

She has toured in 9 Brazilian states and internationally, performing in China (Beijing) in 2015 (through the Novas Vozes program by the Brazilian Embassy), and in 2024 (with the support of the Chinese government’s Puente Al Futuro program, connecting young people from Latin America to China). She has also performed in Mozambique in 2022, and in 2023 in Portugal and Germany (with support from São Paulo’s Invest SP program).

In 2017, she made her acting debut in the Brazilian film industry with the short film A Ponte by Rafael Câmara, produced by the TNT BR channel. As a voice-over artist, she is part of the prestigious Clube da Voz – São Paulo’s Voice Professionals in Advertising, and has voiced campaigns for major brands.

Tianyi Shi graduated from Central Saint Martins College with a master’s degree in furniture design and later studied contemporary art creation at the Royal College of Art. In 2018, her work “Inside Out” gained wide attention in the industry at the SaloneSatellite in Milan. After that, she established her personal studio: Tianyi Shi Studio.

Her works aim to explore the boundary between art and design. Through deconstruction and recombination techniques and narrative thinking, she breaks traditional object forms, broadens the cognitive boundary, triggers in-depth public thinking on materials, items, and life, expecting to bring unexpected emotional and usage experiences and establish a new order.

Materials, especially sponges, are important partners in her exploration of the art and design boundary and an important clue in her current creations.

Her exploration extends from the home’s interior to people, psychology, society, culture, etc., making her works wander among furniture, installations, and sculptures.

With the avant-garde and experimental nature of her works, Shi Tianyi has been invited to many renowned exhibitions at home and abroad, such as Design Miami, SaloneSatellite, Design Shanghai, Times Art Museum, Boundless Art Museum, etc. She has won the EDIDA International Design Award hosted by “ELLE DECO”, the Gold Award of the Lighting Design category of A Design Award, the K Design Award, etc. and began serving as a judge of the WISE Emerging Design Award in 2025.

Her works have been favored by many media at home and abroad. “Inside Out” was selected in “WGSN Trend Prediction and Analysis” and became a guide of international fashion trends. At the same time, due to her in-depth and unique creative techniques and the ability to explore the intrinsic value of the brand, she has been entrusted by well-known domestic and foreign brands for art and design creations, such as Fendi, SKP-S, Sunbrella, Rong Design Library, etc.

Shon Kim is an award-winning filmmaker and visual artist, born in Seoul, S. Korea. He holds BA in Law from Hanyang University, BFA transfer in Film & Video from School of the Art Institute of Chicago, MFA in Experimental Animation from CalArts, and Ph. D in Animation Theory from Chung-Ang University. He currently works in New York.

Shon has presented his works at museums and festivals worldwide; MoMA, REDCAT, The Hammer Museum, Modern and Contemporary Art Centre in Hungary, Museo de Arte Contemporaneo in Chile, IFC Center in NYC, Seoul Museum of Art, Daegu Art Museum, OCI Museum, VIDEOFORMES, ANIMA MUNDI, FESTIVAL INTERNATIONAL DU FILM SUR L’ART, International Film Festival ART FILM, Odense Film Festival, etc.

I work with sound as I enjoy the exploration of a location, discovering its characteristic and hidden sounds, and the patience this takes. The process acquaints me with many aspects of a place; physical, social, psychological.
I explore the fact that sound is energy, and I use recordings or live action to trigger motion in objects or transform a sound by playing it through various materials, resonating them. I work unpredictable systems or actions, such as weather conditions or malfunctioning devices as I enjoy the lack of complete control over my work.
I also investigate how other energy forms, such as light, wind and water can produce or trigger sound, and vice versa how sound be used to create light and movement, at times resulting in a physical trace.
Re-using and re-contextualising environmental sounds has led me to use found and discarded objects and technology in my work.
Through my own interests in the re-evaluation of sounds, objects and situations I hope that others are inspired to do the same.

Shu Chutian graduated from Pratt Institute in 2019, focuses on recording personal memories within the context of community and urban development in her recent works. Through the mediums of video and performance, she aims to create an digital archive that showcases unique and individual perspectives.Works have been exhibited in Shanghai Duolun Museum of Modern Art(Shanghai, 2022), Sea World Cultural & Art Center (Shenzhen, 2022), Arbre Art Centre (Shenzhen, 2022), Yell Space Bomb Shelter (Mianyang, 2022), Fosun Foundation (Shanghai, 2021), Pratt Manhattan Gallery (Manhattan, 2019), Tutu Gallery(Brooklyn, 2019), Deklab Gallery (Brooklyn, 2019).

Wang Huan (B.1991) is a Beijing-based writer, critic and curator. He is the co-founder and

chief editor of GENERAL (manual). He has published a series of art criticisms and essays in various media such as Twenty-First Century (21C), ARTFORUM, ArtReview, LEAP Magazine, Ocula, Art-Ba-Ba, Jiazazhi Magazine, Heichi Magazine, CLABO (Taiwan Contemporary Culture Lab), Art Monthly, STUDIO VOIVE, UNLIRICE, IDEAT, Wallpaper, Art World Magazine, as well as Ray Art Center’s Reviews, New Century Art Foundation, etc.

In 2018, he won the first prize of the 5th International Awards for Art Criticism (IAAC). In 2019, he won the PSA Emerging Curators Project with the curatorial project Sunset on a Dead End. In 2024, he was selected for the second De Ying curatorial fellowship programme. He was a nominated curator of the Jimei × Arles Discovery Award in 2016 and 2019. In 2020, he was elected to Artist-in-Residence Taipei 2020, and he published the book NOTHING LEFT BUT WORDS as the chief editor. He was also the chief editor for Wushu Xiuci (myth rhetorical), the first volume of Jiazazhi magazine. In 2024, he published the book GUO Fengyi：COSMIC MERIDIANS as the chief editor. In 2021, he served as a special judge of the PSA Emerging Curators Project. Recently he’s working on a cross-cultural research project which focuses on secret society and art. Using contemporary secret folk associations and folk images as field research samples, his project explores the origin and motivation of primitive creativity before the technologized time, as well as the contemporary secrets that flow within the undercurrents of folklore.

A contemporary performing artist based in Shanghai, his practice focuses on the urgency and authenticity of performative actions in times of social transformation. His work delves into the evolving role of the body in performance and the shifting dynamics between performer and audience in an era of technological change. Over the past decade, he has been a dynamic presence on international performing arts platforms, fostering cross-cultural dialogues while actively engaging in artistic creation, research, writing, and translation.

Theatre maker, director and teacher based in Shanghai, China. Cofounder of_ao_ao_ing ensemble; Founder of Birdie Theatre Education Network.Trained with socio-psychological imaginations, Selena aspires to use theatre-making process as a means for self-discovery, community building & healing,social documentation, and all possibilities of real-time changes.

Based in Berlin and Dusseldorf, Carsten Sander is a well-known German photographer and artist. He has been awarded the German Photo Book Prize, the German Design Award, and the ADC Award. He is known for his project: HOMELAND. Germany – Your Faces. Sander thus presents a modern and colorful picture of German society. One nation, millions of differences united in tolerance.

We are a collective of artists running together “with the rubbles of old palaces”, a cultural space located in Berlin, Germany. Coming from various artistic backgrounds we have come together to develop communal research, workshops, performances, exhibitions and films, which we host mostly but not only in the city of Berlin. In the recent years we have had a heavy focus on looking at the connections between food, food production, cooking, the environment and history — in the form of workshops, dinners and the production of films and exhibitions on the topic. In this line of research we have held the “Supply Chain Indigestion” exhibition with the films and installations on the histories of the 猕猴桃 and the French baguette; we showed “The Critical Drinking Curriculum” at the Juxtapose Art Fair in Aarhus (Denmark), an artistic project bringing together different histories intersecting with cultures of drinking; we opened two exhibitions, “Portrait or landscape, Anahita” and “Liquid Sands” open the topic of water and land management; and most recently we have done “IMBISS: A Working Group”, a series of 8 workshops, performances and supper clubs each focusing on one food item or food-related cultural phenomenon and unfolded the histories around it, going through soy, butter, beans, hunger, jollof rice, vanilla, champagne and forbidden foods.

Born in 1976 (Bangkok), Wit Pimkanchanapong graduated from the faculty of Architecture, Chulalongkorn University, Bangkok, Thailand (1992) and received the MA in Visual Communication, Electronic Media & Time-Based Media, from Kent Institute of Art & Design, Maidstone, UK (1994).

Pimkanchanapong has participated in several exhibitions, including Paraphernalia, Galerie du Haïdouc, Bourges, France (2003); and Have We Met?, Japan Foundation Forum, Tokyo, Japan (2004). Wit also co-founded Duck Unit (2004) and Soi Project (2005), which later became the platform for many exhibitions and music-related events. Other shows include Bangkok Bangkok, La Capella, Barcelona (2005); Politics of Fun, Haus der Kulturen der Welt, Berlin (2005); Yokohama Triennale, Yokohama, Japan (2005); Mairie de 6e, Paris, France (2006); Temporary Art Museum SoiSabai with Yoshitomo Nara, Silpakorn Universiity, Bangkok (2006); Some Proposals for the Next Future, Silpakorn University, Bangkok (2007); Sharjah Biennale, Sharjah, UAE; Animated Painting, San Diego Art Museum (2007); The 7th Asian Pacific Triennial of Contemporary Art (APT7), Queensland Art Gallery, Brisbane (2009); and his first solo exhibition Not Quite a Total Eclipse, 100 Tonson Gallery, Bangkok (2009).

Akiko Utsumi works on continuity of time and reconstruction of scenery. She started art by video and photography so that she tries to amplify the concept of them such as time or replay into space by using objects. Employ installation, public art, video, sculpture and photography, she makes art to understand the world in another way and share the essentials in human beyond attribute or times through the medium as art. She creates another scene to “re-experience” a certain event or place. The present is intertwined with all point in time. When we recognize this continuity, the world exposes more multi-tiered image. She tries to create an intersection between fiction and reality which the spectator is able to sympathize with the past or the time that has yet to come. She attempts to create certain “experiences” for the spectator.

She graduated doctoral degree in Tokyo University of Art in 2015. She stayed in Germany 2014-2017, and participated in several residency programs.

Kaija Hinkula is a Finnish contemporary artist whose work delves into themes of utopia, fantasy, and the construction of future narratives. Hinkula’s exploration of malleable geometry as a symbol of hope, potential, and the imagining of new worlds is central to her recent work. Operating within the realm of expanded painting, she is creating minimastistic spatial experiences that merge elements of painting, sculpture, and time-based media. Her playfull and versatile body of work includes sculptural paintings, site-specific installations, and video performances.

A graduate of the Academy of Fine Arts in Helsinki 2021, Hinkula holds a Master’s degree in Visual Arts. She has held solo exhibitions at venues such as Pragovka in Prague, the HAM Gallery at the Helsinki Art Museum, Forum Box, and the Oulu Art Museum. Her work has been featured in group exhibitions, including the Pori Biennale in Helsinki, SIC and Knipsu Fight Cage in Norway. She was awarded the Fine Arts Academy of Finland Foundation Prize 2025. Currently she is a resident at the International Studio & Curatorial Program (ISCP) in New York, supported by the Helsinki Art Academy and the Saastamoinen Foundation.

Karolina Halatek studied Design for Performance at the University of the Arts London, Great Britain, Fine Arts at the Universität der Künste Berlin, Germany and Media Art at the Academy of Fine Arts in Warsaw / Poland. During studies in Berlin, she participated in workshops at the Institut für Raumexperimente run by Olafur Eliasson.

Using light as the central medium in her work, Karolina Halatek creates experiential site-specific spaces that incorporate visual, architectural and sculptural elements. Seeing her work primarily as a catalyst for experience, Karolina creates installations that have strong experiential and immersive characteristics, often the result of collaborations with quantum physicists, founders of the superstring theory (Leonard Susskind, Roger Penrose) and precision mechanical engineers. Karolina is interested in experiences that extend to the edge of human knowledge, seeking a visual language to evoke feelings and emotions of virtually unknown phenomena.

My way of reaching the world is by measuring the space around me. This is how I build the relationship with others. The communication problem is the way we socialize. Reaching agreements means entering a space different from yours.

What is the space that limits us? Space tells us a lot about ourselves and our own time. Thus, in the empty space and in its memory the contradictions of our society are condensed, therefore we need to understand each part of the space that surrounds us, as an engine of desire, which moves us to respond or demonstrate what we are for our existence.

We live in space, we are surrounded by space all the time and there is space between us, understanding it gives us the possibility of being part of the other. What apparently limits us gives us the possibility to expand and understand ourselves.

So how do we relate? how much do we need from the other? space, nature, earth is where we are. There lies the possibility of being connected, when the spectator is no longer a spectator and becomes an artist. Together, we could elaborate a social interaction for the purpose of making a work of art.

Geometry is the study method of my artistic production. This is divided into two lines of work: the analysis of the form to highlight aspects related to the place of exhibition and the body as a performative object. In both, I seek to focus my work on the objective scope of the simple or pure resources of geometry, to demonstrate through experience the ephemeral objectivity of artistic production.

The experience, meanwhile, is transformed into a present body and the viewer into art. It is an exercise in unfolding the contained space, through the bodies, taking them as a unit of measurement in order to dimension the void. Thus, the loss of hierarchy between bodies will invert the roles.

Artist, Filmmaker, Lecturer of Shanghai Academy of Fine Arts, Shanghai University

Holder of dual master’s degrees from the University of Oxford and the Royal College of Art. She is a member of the Partisan Social Club and a committee member of the Global Exchanges, Oxford.

My attention is on the collision and fusion of shared and different identities and cultural concepts across individuals, as well as the role of everyday conversations in interpersonal relationships, such as interactions in intimate friendships or emotional sharing in the kitchen. Improvised conversations are always fluid and broad, covering various topics in sociology, anthropology, and philosophy. I position myself as an observer participating in these, delving into people’s behaviours, communications, and dialogues, attempting to decipher the construction process of these emotional ties and authentic micro-communities. I focus on individuals and groups with whom I have real interactions in daily life, trying to truly understand others.

Using cameras, food, and poems, I facilitate dialogue and deeper relationships, linking personal emotions to broader societal themes. Trust is pivotal in my participatory imagery approach, encouraging subjects to express themselves openly in the creative process. My filming goes beyond documenting moments; it’s a way to foster genuine interactions. I seek a profound understanding of belonging and happiness, using imagery to explore personal existence and relationships. Holding a 16mm camera, I embrace my role as a dream maker.

Former reporter of Chengdu Economic Daily and senior media person. Master of Business Administration, Sichuan University. Since 2015, he has been responsible for the preparation and operation of a number of well-known lifestyle and commercial complexes in Chengdu, covering “culture and commerce, art and commerce” cultural spaces (Taikoo Li high-rise mansions, Water Street Qing’an, Luxelakes Yacht Club, Xichang Kaiwuzhai, Guanghui Art Museum), private museums (art galleries) and cultural and creative projects. He is currently the CEO of Chengdu Fragrant Life Culture Communication, providing operation and content consulting services for cultural space, culture and art IP projects.

Leader of Life Narrative, Member of Chinese Society of Life and Death and Life and Death Education/Editor-in-charge of the academic journal “Chinese Life and Death”/Himalaya’s first life and death-themed podcast “My Death Self-Study Course” (2020) / 2024 First “Life Culture Essay” paper winner. In the past five years, we have continued to disseminate life education and mindfulness of life and death, and have volunteered to do relevant open classes and a number of offline dialogue activities for teenagers and adults. At present, the Life Narrative Project is being launched to provide community and individuals with a public welfare project of Life Narrative Family Oral Memoirs.