Aleksandrija Ajduković graduated photography at the Academy of Arts "BK" in Belgrade. Member of ULUS ( Association of Fine Artists of Serbia. Completed Master studies (photography) at Academy of Art, Novi Sad. Guest student in Post Conceptual Artist Practices at Academy of Art in Vienna in a class of Marina Gržinić. Now at a doctoral studies at Faculty of Drama in Belgrade at a department for theory of film, culture and media. Two years finalist for the Mangelos award, for the best young artist. Participant of 2010 UnideeCittadellarte workshop in Biella, Italy. Through the portraits of passers-by she captures the phenomena of modern life and its daily reflections on the world of fashion, pop-culture and lifestyle of (non) urban areas In an elaborative and humoristic way. Lives and works in Belgrade.

Alex Schuurbiers, an audiovisual artist based in Belgium, works predominantly with analogue media. Her work focuses on the subconscious and remembrance, incorporating themes such as Heimat, intergenerational transmission, trauma, rage, and resilience. She often uses trance-like, cyclical, non-hierarchical narrative structures to convey these themes. She is also a founding member of Ursula, a collective of women located in Antwerp that works with moving images. Her films include Handwerk (2021), En Vagues (2022), Where I Lay My Head to Rest (2023), Song of Homecoming (2024), and Placeholder (2025).

Ana Hušman experiments with animation, documentary and fictional cinematic methods. She disassembles their structure and texture through film, installation, book, sound, image and text. Hušman questions structures that dictate and produce behavioural patterns. She plays with the positions of the amateur and the professional subject of performativity, often by exploring possibilities of the recorded voice and its articulations.

She is an associate professor at the Department of Animation and New Media at the Academy of Fine Art in Zagreb, cofounder of the documentary film organization RESTART where she has been holding film education programs for children and young people for many years. Her work has been shown at numerous festivals and exhibitions including: 9th Gwangju Biennale, 53rd October Salon (Belgrade), Ludwig Museum of Contemporary Arts (Budapest), URA (Istanbul), International Film Festival Rotterdam, 25 FPS (Zagreb), etc.

Ana Torfs lives and works in Brussels. Throughout her creative career, she has explored questions relating to perception, memory, representation and the construction of the image. She enables a topical and authentic perception of the scattered remains from our cultural and political history, from an early one-act play by Maurice Maeterlinck in The Intruder, to the Rorschach inkblot test in Incantations (Double Double). The multiple sources to which she refers are seen anew through the lens of the present. In the end, we only perceive echoes of the original materials: playful and poetic transpositions, generating displacements of meaning and interpretation.

Anamarija Batista is a researcher, lecturer and a freelance curator. She graduated in Economy and Art History at the University in Vienna. She has curated a series of exhibitions including “Productive Work – what is it supposed to be?” (frei_raum, Museumsquartier), “Bosch & Hofbauer” (The Paintings Gallery of the Academy of Fine Arts Vienna, 2018), “The Munchhausen effect – Micro-utopias on Time in the Time of having no Time” (Gallery 5020, 2017), “Crisis as Ideology?” (Kunstraum Niederösterreich, 2016). Her publication “Rethinking Density. Art, Culture and Urban Practices” was released by Sternberg Press as part of the publication series of the Academy of Fine Arts in Vienna in 2017. Since May 2018 she has been working on the project “Collective Utopia of Post-War Modernism: The Adriatic Coast as a Leisure and Defence Paradise” together with Antonia Dika supported by FWF (Austrian Science Fund).

Andrew Scott Ross’ multi-disciplinary studio practice focuses on finding alternative methods of inter- preting, recording, and visualizing the ancient past. To act out his research, he has created a personal museum of objects that attempt to isolate the common socio- and psycho-cultural con- structions often embedded within historical display. Ross has exhibited throughout the United States and abroad including; The Museum of Arts and Design in New York, The Building for Contemporary Art in Geneva, Switzerland, The Museum of Contemporary Art of Georgia, The Guggenheim Museum’s Peter Lewis Theater, The Ben Gurion Airport in Tel Aviv, Israel, The Knoxville Museum of Art, The Hunt- er Museum of American Art, The Weatherspoon Museum and the John Michael Kohler Arts Center. His work has been reviewed in publications such as Artforum Magazine, Art in America, The New York Times, The New Yorker, Sculpture Magazine, and Artsy. He has won awards from institutions such as the Joan Mitchell Foundation, South Arts, and the Center of Excellence for the Creative Arts. His work Dry Erase was displayed in the 2016 Atlanta Biennial and his recent work Gallery of the Thieves was included in Appalachia Now! An Interdisciplinary Survey of Contemporary Art in the newly renovated Asheville Museum of Art. Ross is an Associate Professor at East Tennessee State University where he teaches drawing and foundations studies. Ross received his BFA from the Atlanta College of Art and his MFA at the School of the Art Institute of Chicago. He subsequently studied at the Skowhegan School of Painting and Sculpture.

Anna Hofbauer works in the media of sculpture and photography. She also gives talks illustrated by slides both on sculpture and her related longer and shorter stories. Together with Bianca Regl, she co-founded BLACKBRIDGE OFF空间, a non-commercial exhibition space in Beijing, and also curated exhibitions and film programmes there from 2010 – 2015.

Anna Hofbauer has taken part in sculpture symposia and many group exhibitions in Europe and Asia. Her most recent solo shows were Bosch & Hofbauer at The Paintings Gallery of the Academy of Fine Arts Vienna, 2018, My volcano erupts Anna Hofbauer only not for you at FOX, Vienna, 2017 and terracotta conflisi at Galerija 42°, Cetinje, Montenegro, 2016.

Anna Hofbauer lives in Vienna.

Anna van Bommel is a visual artist working through performance, video, and sculpture. Her work is autobiographical in nature as she draws from personal encounters: a fall into a lake, a fly disappearing from a window, a father and a stepfather. By framing these occurrences within precise structures, she investigates the duration of a moment, the act of waiting and the fragile boundaries between certainty and doubt, control and its loss.

In her recent work, a focus on the line emerges, not as a drawn mark, but as a measure, a boundary, or a horizon. This manifests as a physical trajectory in her zinc gutter sculpture Linea Recta. Van Bommel’s pieces use a formal rigor to contain and make space for vulnerability.

Anna Witt‘s artistic practice is performative, participatory, and political. She creates situations that reflect interpersonal relationships and power structures as well as conventions of speaking and acting. Passers-by in public spaces, or specifically selected people and groups, are drawn into her experimental arrangements, usually in a directly physical way. The tasks range from repeated imitation of specifically coded gestures to the development of complex choreographies, and are developed in close collaboration with the participants.

Antoinette Zwirchmayr studied at the Academy of Fine Arts Vienna. Her works have been featured in festivals including International Short Film Festival Oberhausen (DE), Berlinale (DE), Indielisboa (PT), Toronto International Film Festival (CA), Media City Film Festival (CA), New Horizons Film Festival (PL), CPH: DOX (DK), Ann Arbor Film Festival (US), FID Marseille (FR). She has been awarded with the Sponsorship Award for Art and Culture (Stadt Salzburg 2018), Filmaward Media City Filmfestival Canada (2017), Start-Up Grant for Young Film Artists (Arts and Culture Division of the Federal Chancellery of Austria 2017), Annual grant for photography (Land Salzburg 2017), Simon S. Filmaward (2016), Kodak Cinematic Vision Award (Ann Arbor Film Festival 2016), Best Innovative Film Award, Diagonale – Festival of Austrian Film (2016), Annual grant for film (Land Salzburg 2014), Best short documentary Award – Diagonale, Festival of Austrian Film (2014), Sponsorship Award (Salzburger Kunstverein 2014), Birgit-Jürgenssen-Award (2013).

Art Pavilion in Zagreb
Trg Kralja Tomislava 22, 10000, Zagreb, Croatia

The Art Pavilion in Zagreb conceives and organises exhibition projects, facilitates artistic research and new productions by domestic and international artists and curators. Through its program, it questions existing systems and art historical knowledge, while considering and establishing possibilities for institutional action through innovative and sustainable methodologies. It fosters critical reflection, participates in informal public education, and builds a solidarity-driven, inclusive, and humane community.

With its diverse artistic research and exhibition activities and programs, the Pavilion aims to have a strong presence in the city, educating its citizens. Additionally, through its strategic decisions, it seeks to contribute to the city’s development and cultural community. The Pavilion’s vision is to function as infrastructure, with art as a resource. By integrating scientific methods and artistic strategies, it seeks to disrupt hierarchical structures in the production and transmission of knowledge, while also contributing to the creation of novel collective experiences. Similarly, the Pavilion becomes an innovative and relevant space for reflecting on institutional functioning and pressing social issues, serving as a reference point for students of philosophy, design, architecture, and art academies, as well as for all those interested in contemporary critical practices in visual arts and culture.

Awoiska van der Molen ( 1972 in Groningen, NL) is a Dutch artist working with the medium of photography. The practice of Awoiska van der Molen is informed by an intuitive approach to image making and her interest in the intangible qualities of her subjects: a search for the unspoilt core. This search has been a reoccurring motif in her work seen in her early works which includes portraits and photographs of urban environments. Since 2009, van der Molen has taken black and white, abstracted images in nature.

In 2017 van der Molen was shortlisted for the Deutsche Börse Photography Foundation Prize and was she the recipient of the Larry Sultan Photography Award 2017. She received the Japanese Hariban Award in 2014 and was finalist at the Hyères Festival International de Mode et de Photographie in France in 2011. Her first monograph Sequester was nominated for the Paris Photo / Aperture First Book Prize in 2014.

Awoiska van der Molen lives in Amsterdam.

BAYA is a creative collective that feels born out of a necessity for a new tide within our surroundings and a desire to develop and mold an authentic realm that connects creative individuals through collaborative process.

The name BAYA is dedication to Baya Mahieddine, born as Fatima Haddad, an Algerian artist that in her work centered only women and nature. With this she created a new world. And this message, that was conveyed throughout her oeuvre, aligns with our vision.

BAYA Collective believes in manifesting collaborations that are rooted within the shared aspiration to create in a way which exceeds the focus on the end-result and centers the importance of the relationships and growth that are formed in the process. By creating an authentic realm, both on- and offline, BAYA Collective values the idea of enabling an intimate space within our social scene in which people can get together, chat and connect.

BAYA Collective does not believe in shrinking or adapting oneself to fit the expectations which are forced upon us by society’s standard. The idea that lies at the foundation of this space is to *burn the table*. The table that enforces the exclusion of people who challenge the status-quo.

In her work Bie Michels (b. 1960, Kimwenza, Congo, lives and works in Antwerp) centers on observing, registering, and questioning the representation of the ‘other’. Her paintings, installations and films not only question her own position with regard to the subject, but in the process of her creation she allows others to collaborate or comment on them. These may be artists, experts or labourers, but also people closely involved. Furthermore, she explores the complex relations (culturally, historically, interpersonal,…) of people with objects. Michels is also working on (post)colonial questions and decolonisation.

Since 2014 she is member of the group Performing Objects through which she explores the performative act and the possibilities of an object to act as an interactive performer.

Her work has been shown in Contour Biennale 9 (BE), Magasin des Horizons (FR), Argos (BE), M HKA — Museum for contemporary art (BE), Netwerk Aalst (BE), Fei Contemporary Art Centre (CH), Dunkerque2013 in Dunkerque (FR), Hastings (UK), and Lokaal 01 (NL).

Bojan Palikuća is a sound designer and sound recordist based in Belgrade, Serbia. He is a member of production and post-production teams on numerous fiction, animated and documentary films, actively working as a sound designer and composer for dance theatre plays and commercial videos. In 2016, he began an ongoing cooperation with international film productions from Belgrade, Kazakhstan, the UK, Spain and Ukraine. He was the sound designer for Glorious Revolution (2021; third prize Cinéfondation Cannes). He recorded and designed sound for Mamonga (2019) by Stefan Malešević and Roots (2021) by Tea Lukač (both premiered at Karlovy Vary Film festival), as well as Light Falls Vertical (2022) by Efthymia Zymvragaki (premiered at IDFA). He was the composer for the contemporary dance performance Year Without Summer (2019), a co-production between Bitef Theatre and Stanica, Serbia. Among his most recent projects are documentary film The Last Nomads by Biljana Tutorov and Petar Glomazić, in production, and feature documentary Soil and Wings by Stefan Malešević, mixed in Dolby Atmos at STMPD studios in Amsterdam. He plays the guitar, accordion, keyboards, and especially enjoys playing the banjo.

Boris de Klerk is a performance and sound artist based in Antwerp. He works as an artist and sound designer, both independently and in various collaborations. His work has been showcased at venues and events including Marres House for Contemporary Culture, Zaal 3 Den Haag, NTGent, De School, Collectie de Groen, Frascati Theater, LeGuess Who?, Lowlands, Best Kept Secret, Into the Great Wide Open, Eurosonic Noorderslag, The Great Escape, and South By South-West. He has developed sound designs for artists such as Anthony van Gog, Marthe Koning, Simon Bus, Corpo Maquina, and Karolien Verlinden/Tuning People. In all of these contexts, the exploration of live sound in a performative space is the main focus. His work consistently investigates the sensory possibilities of space and the moment in relation to the performer and the audience. By approaching the theatrical space as a composer, Boris’s work is an attempt to reorganize the senses and explore what happens when you create theater where sound takes the lead, and mise-en-scène, set design, lighting, and choreography are the consequences of choices made based on auditory elements.

Božena Končić Badurina took a degree in German and Russian language and literature at the Faculty of Humanities and Social Sciences in Zagreb in 1995. She also took a BFA at the printmaking department of the Academy of Fine Arts in Zagreb in 1996.

In her artistic work she uses and combines various media, with an emphasis on drawing, print, text and performance. She has organized a number of performances that often involve the public and invert the usual roles of performer and viewer within the performance. In her site-specific works she devotes particular attention to the nexus of relationships that arise between users/tenants of given spaces and their physical, architectural and historic features.

She exhibited her work in solo and group shows at home and abroad and received a number of prizes, among others: Third Prize at the 49th Croatian Film Art Review, Gold Medal for Use of Space for Performance (for Croatian selection) at the Prague Quadrennial of Performance Design and Space, Best Exhibition Award in 2007 awarded by Croatian Association of Visual Artists.

Corpo Máquina Society brings people together. Led by choreographer and artistic director Guilherme Miotto, Corpo Máquina Society causes encounters between different generations, worlds, styles and forms. This is how we constantly create new entrances into the arts. Dancers, skaters, actors, freestyle soccer players, free runners, musicians, art students, young and not so young city, neighbourhood and neighbourhood residents…. in the work every body finds the space it needs. This is how we try to make art belong to all people. Senses on edge, feeling, moving, looking. In the concentrated communication from body to body, movement helps us to see each other better: softer, more open, with curiosity and trust.

In his work, David Bergé addresses performative and embodied aspects of photographic materiality and time. He uses the body as a device to capture images; through the construction of an experience, often performative and over time. Audience gets invited through different projects into a journey of lecture performances, installations and book projects.

David Bergé’s holds an MA from the Dutch Art Institute – DAI (2017) and an MFA from LUCA Brussels (2005). His work has been presented at various international art centers including Kunsthal Extra City in Antwerp (2018, 2015, 2016); SKD, Staatliche Kunstsammlungen in Dresden (2018); Thessaloniki State Museum of Contemporary Art (2018); CAC in Vilnius (2015); STUK arts center in Leuven (2017, 2013); SALT, Istanbul (2011); KCB Belgrade (2013), NETWERK Center for Contemporary Art, Aalst (2015, 2012, 2009); Maison Particulière, Brussels (2014); Gati New Delhi (2011); TanzQuartier Wien, Vienna (2010) and Kunsthaus Muerz, Muerzzuschlag (2012). He published a book with MER. Paper Kunsthalle (2015).

David Bergé currently lives in Athens.

Davide Tidoni is an artist working from the boundaries of the physical, perceptual, and affective dimensions of sound. His work addresses questions regarding interactions with acoustic space, interdependence, and impermanence. His practice also includes interests in the use of sound in counter- cultures and social contexts of struggle. He published “The Sound of Normalisation” (2018), a field research on the ultras group Brescia 1911, and “Where Do You Draw the Line Between Art and Politics” (2021), a series of interviews with individuals active at the intersection of art and politics.

Davor Konjikušić uses photography as the primary medium in his artistic practice to articulate concepts that explore the relationship between the personal and public, the intimate and socio-political. He integrates photography with text, archives, found objects, and video. His work examines the role of photography in establishing relationships of power and control. He is the author of the photographic book Our House (Office for Photography, 2019), as well as the books There Is Nothing There (Multimedia Institute, 2020) and Red Light: Yugoslav Partisan Photography and Social Movements (De Gruyter/Kunstverlag, 2021). He works as an assistant professor at the Academy of Dramatic Art, University of Zagreb.

The basic aim of the study programme Landscape Architecture is to educate the graduate in disciplines that provide knowledge important for spatial planning, nature protection and landscape design, such as natural-ecological, socio-economic, humanistic and cultural, technical, design and planning knowledge, and in skills such as are drawing and plastic moulding. The graduate acquires competencies for making planting plans, landscaping plans, for making inventories of works and estimates, for working with computer programs, for preparing and maintaining spatial databases, for managing administrative procedures for less demanding spatial interventions and similar tasks.

Diane Mahín is a Dutch-Iranian performance maker and sociologist based in Amsterdam. Through sound, image, and physicality, she scrutinises the human body as a material object in order to dissect social constructions, as she wishes to grasp their absurdity and humor. Dissociation, emptiness, and death are recurring themes in her work.

The sociologist in her is fascinated by social constructs and human subjugation to social systems. She uses the rehearsal studio as a laboratory to look at social constructs removed from their context. Hidden human sounds such as cries, gut-sounds, and grunts, function as a catalyst to re-frame these socially constructed behaviorisms. After her studies at Goldsmiths, University of London and Maastricht Institute of Performative Arts, Diane recently graduated from Sandberg Institute. Her works have been shown in visual arts, theater, and new music contexts such as Museumnacht Amsterdam, Rewire, KIKK (BE), Frascati, Veem House for Performance, STUK Leuven (BE), XING Bologna (IT), Motel Mozaïque, and Instrument Inventors Initiative.

Diego Marcon primarily focuses on moving image. His practice centres on the investigation of cinematic archetypes in a process combining theoretical and structural approaches to filmmaking, with the sentimental attitudes of popular movie genres. His works – spanning film, video and installation – often utilise a looped structure to articulate an emotional display that flirts with the pathetic aspects of popular entertainment; and simultaneously draws attention to the media itself. Throughout Marcon’s work, empathy and vulnerability are deployed with intentional ambiguity, such that the instrumental use of their forms and figures constitute a blurred morality. This ambiguity is viewed by Marcon first and foremost as a political weapon of defiance.

Dina Rončević graduated from Art Academy in Zagreb, Croatia (2010) and Sandberg Instituut in Amsterdam, the Netherlands (2015). As her graduate work in Zagreb she retrained as a car mechanic and continued to deconstruct cars and construct vehicles with girls and women. In her practice, she works in the grey area between art and life, fighting discrimination with calm stubbornness and feminism. She works as a technical welder in Deeside, Wales.

Doplgenger is an artist duo from Belgrade, composed of Isidora Ilić and Boško Prostran. Doplgenger engages as a film/video artist, researcher, writer, and curator. The practice of Doplgenger revolves around the relation between art and politics by exploring the regimes of moving images and the modes of their reception. They rely on the tradition of experimental and avant-garde film and through some of the actions of these traditions intervene on the existing media products or work in expanded cinema forms. Doplgenger is Serbian transcription for Doppelgänger in German. Doppelgänger is a stranger, a foreigner, an outsider, a social deviant, anyone whose origins are unknown or who has extraordinary powers. It threatens to dissolve dominant structures, it points to or suggests the basis upon which the cultural order rests – the unified individual.

Duga Mavrinac is a research assistant at the Institute for anthropological research in Zagreb and an independent curator. In the past, her work focused on anthropology of home and domestic space in contemporary Croatia and Southeast Europe. The areas of her current research are domestic work, gender and migration studies, practices and ideas of care, ethnographies of work. Her PhD research at the University of Zagreb and the International Doctoral Program “Transformations in European Societies” a joint project of seven European Institutes and universities in Basel, Graz, Londonderry (University of Ulster, Magee Campus), Copenhagen, Munich (Ludwig-Maximilians-Universität), Murcia and Tel Aviv, is based upon long-term fieldwork with informal elder care workers in Italy and Croatia.

She investigates the applicability of methodological and theoretical concepts of cultural anthropology in several projects such as: “New, New Babylon” (Rijeka, 2008), “Stand up art action” (Rijeka 2009), “Ne (Istra) women” (Pula 2012), “The silent art of beekeeping” (Ethnographic Museum of Istria 2014.), “Between there and there: anatomy of temporary migrations” (IPAK 2015-17; Museum of Modern and Contemporary art Rijeka,2017). In 2018 she became a member of the editorial staff for a peer-reviewed journal “Visual Ethnography”.

In 2018, together with Wim Janssen, Dušica Dražić founded OUT OF SIGHT, a venue for contemporary art in Antwerp dedicated to audiovisual, experimental, and time-based practices.

Dušica is an artist, researcher, and independent curator living and working in Antwerp. She works across various media, including installation, video, film, sculpture, and performance. In her work, she explores spaces of irregularity that carry strong political meaning. Dražić analyzes their transformation and rethinks them within the context of cultural continuity. The history of a place and its opposing interpretations of the past have always been central to her practice. Often, the complexity of the subject matter requires a combination of scientific and artistic approaches, fostering transdisciplinary and collaborative work.

Her artistic and curatorial work contributes to the production of public space, that is not a safe space, but rather contested, charged, and challenging, always open for negotiation.

From August 2020 to December 2024, parallel to her work at Out of Sight, Dušica worked at wpZimmer, a workspace for performing arts, where she explored the politics of production as a creative producer and member of the artistic team. During her time at wpZimmer, she developed the international artistic research project On Mobilisation (2023-2025), co-funded by the European Union. The project is realized in partnership with wpZimmer (BE), Baltic Art Center (SE), Studio ALTA (CZ), and Lavanderia a Vapore (IT).

Dušica is currently a member of the Artistic Board of MORPHO and the Board Member of MESSIDOR. Throughout her professional career, she has served on numerous juries (including open calls for projects and residencies, as well as film juries) and has given many artist talks. Her work has been published in numerous publications, and she has co-edited artist books and other publications.

Ernst Maréchal is an audiovisual artist, singer-songwriter, performer and artistic researcher. With a love for beat, voice, recordings and sound-making, he explores the borderland between the political and the poetic. With his work he seeks to address, understand and (re)imagine issues of (in)equality, diversity and commonality.
With the project Social Recordings he aims to engage in collective (musical) improvisation through a process of collaborative recording, playback and relistening.

He is interested in the ethics of getting involved with the voices he meets — how can direction and meaning be given, and positions taken, together, based on the sheer fact that there are common interests he alone cannot embody.

While engaging in an ongoing dialogue with people, places and memories, he intends to construct resonant spaces for non-linear moments of encounter. In this sense, recorded materials never have a neutral or objective status. They are, from situation to situation, interactions; exchanges with one and other and with the spaces, places and objects that are present.

Escautville is a production and distribution platform in support of artists' moving images—based in Antwerp.
Escautville, founded in 2011 by artists Wim Catrysse, Jos de Gruyter & Harald Thys, Ria Pacquée, Frank Theys, and Koen Theys, is a non-profit organisation dedicated to producing, distributing, and promoting the audiovisual art projects of its founding members. In 2022, artist Lisa Spilliaert joined the collective. The central productions that define Escautville's artistic identity are initiated by its core artists—each production reflecting their individual artistic practices.

Escautville’s productions and co-productions focus on a wide range of formats, from single-screen shorts to multi-channel video installations and, occasionally, audiovisual scenographies for the stage—explorations that challenge traditional notions of cinema.

In addition to these core activities, guest productions play a crucial role, with the organisation committing to a select number of projects by both emerging and established artists and filmmakers. These productions also hold a key position within Escautville's ambitions as a producer and are developed in close collaboration with the artists involved.

The organisation is managed by Ulrike Lindmayr and Vincent Stroep and receives structural support from the Flemish government.

Based in Paris, Esther Shalev-Gerz is internationally recognized for her seminal contributions to the field of art in the public realm and her consistent investigation into the construction of memory, history, the natural world, democracy and cultural identities. Her works challenge the notion and practice of portraiture and consider how its qualities may contribute to contemporary discourse about the politics of representation. Her monuments, installations, photography, video and public sculpture are developed through active dialogue, consultation and negotiation with people whose participation provides an emphasis to their individual and collective memories, accounts, opinions and experiences which then become both represented and considered.

Constantly inquiring into transitional qualities of time and space and the correlative transformation of identities, locales and (hi)stories, Esther Shalev-Gerz has produced a body of work that simultaneously records, critiques, and contributes to our understandings of the societal roles and value of artistic practice.

She has exhibited internationally in, amongst other places, San Francisco, Paris, Berlin, London, Stockholm, Vancouver, Finland, Geneva, Guangzhou and New York. Significant retrospective exhibitions were presented at the Serlachius Museum, Mänttä, Finland (2017), Wasserman Projects, Detroit (2016), the Musée des Beaux-Arts de Lausanne (2012) and Jeu de Paume, Paris (2010).

She created permanent projects in public spaces in Hamburg, Galilee, Stockholm, Knislinge, Geneva, Glasgow and Vancouver. She has recently inaugurated her latest permanent art work, The Shadow, 2018 in the largest plaza of campus of the University of British Columbia, Vancouver, Canada.

Her work can be found in major international public and private collections, more than 25 monographic publications have been published about her work. Shalev-Gerz is represented by WASSERMAN PROJECTS, Detroit, Jill Silverman van Coenegrachts, jsvcPROJECTS/London, SPROVIERI, London and GALLERI SUSANNE OTTESEN, Copenhagen.

Ethnographic Museum Zagreb
Trg Mažuranića 14, 10000 Zagreb, Croatia

The Ethnographic Museum was founded in 1919. It lies in the fine Secession building of the one-time Trades Hall of 1903. The ample holdings of about 80,000 items cover the ethnographic heritage of Croatia, classified in the three cultural zones: the Pannonian, Dinaric and Adriatic.

There are about 3,000 items in the permanent display of the Museum, and they are arranged so as to illustrate two main themes: the folk costumes of Croatia and given items of popular art and handicrafts with a representative selection of Croatian national costume (lace from Pag, Slavonian goldsmith work and Konavle jewellery) as well as collections of rarities from extra-European traditional cultures. In the non-European section there are items from the traditional cultures of Africa, Latin America, Asia, Australia and Oceania.

About 5,000 items of clothing, furniture, arms, tools, jewellery, musical instruments, religious and cult items and many other things were collected at the end of the 19th and the beginning of the 20th century. The collections vividly presents the features of some of the local cultures and civilizations of these continents.

Eva van Tongeren is a visual artist working mainly in film and video. She is a LUCA School of Arts graduate and, since 2016, runs Visite Festival, a collage of experimental documentary and political cinema. She most recently joined the curatorial team of Courtisane and handles the distribution of Auguste Orts productions.

In her own artistic practice, she incorporates her social and anthropological interests into personal stories with universal themes. While her cinematic works vary in form, they connect through the shared subject of caring. Her films and installations have been shown at IFFR, Videonale, Ann Arbor, EMAF, Oberhausen, Courtisane, Kunsthalle Osnabrück, Images Toronto, ...

As a curator Eva van Tongeren is interested in bodypolitics, feminist perspectives, gender issues, pleasure, sex, violence, transgression and activism.

Evelin Brosi & Elvis Bonier is one of the pseudonyms of Boris Van den Eynden (others include Oliver Ibsen and Silvio Ebner). He is a member of bands such as Laat Maar, Borokov Borokov and CUNTST. Boris hosts a two weekly radioshow Het Oorkussen van Jezus on Radio Centraal (106.7FM) in which he broadcasts compositions that are consequently incorrectly performed. He wrote a couple of novels: Thuis (At Home), Pageturner, De Verdriet van België and various other texts. Boris’ plan is to become a painter and to abandon this art form after having finished 720 oil paintings. In 2018 he was working on an enlightened porn movie called Acilmxxx. He has an obsession with counting in general as well as with counting as fundamentally a writing system and a potential literary device in particular. Boris has been trained as a typographer and an autodidact in the field of computer programming. He is up till now a quite unsuccessful publisher.

Finn Borath is a performance and video artist based in Amsterdam. His work has been shown at Parktheater Eindhoven, Museumnacht Maastricht, Oerol festival, Over het IJ festival, Podium Likeminds and Zaal 3 Den Haag. His work has been produced by Stichting Likeminds, Feikes Huis, Oerol & Over het IJ. In his performance work he tries to find ways to ‘edit’ reality as if it were film, with light and sound as his greatest ally, he ‘cuts’ in time. Working with big concepts in philosophy and physics like death and infinity he builds tight performance works that through their ‘coolness’ reveal a deep emotional and personal layer. Using technology he plays with the senses of the audience, by switching from a lot of input to silence he tries to manipulate the experience. This makes his very visual work sometimes feel like a magic show with layers of abstractions.

Floris Vanhoof is interested in the hybrid forms of music, visual art, and film. His first projections -experimental films on 16 millimeter- evolved towards purely visual experiences which questioned our viewing patterns. Inspired by structural film and early electronic music, he builds installations, creates expanded cinema performances, and releases his music. Vanhoof makes his own instruments to explore the border between image, light, and sound. As media-archaeologist, he confronts the digitally-spoiled audience with flickering 16mm films and 35mm slide installations – formats doomed to disappear. He often chooses analog technology because of the greater transparency of the workflow, and because of its rich dynamic range. Cut loose from all nostalgia, he experiments with what used to be considered “hightech.” Vanhoof searches for new ideas with old media. He translates sound to image and vice-versa by connecting different incompatible media. He is especially curious about the effects his work elicits in the viewer: How does our perception operate? Which new perspectives appear?

Gernot Wieland is an artist whose films, drawings, lecture-performances, and installations comment on the idea of human belonging within inherited social, political, and psychological contexts. Wieland’s works have been shown, among others, at the Kunst Halle Sankt Gallen, Salzburger Kunstverein, Kindl – Centre of Contemporary Arts in Berlin, Kunsthaus Graz, the 3rd BIENALSUR – Bienal Internacional de Arte Contemporáneo de America del Sur and at international film festivals such as IFFR – Rotterdam, IndieLisboa, and Videonale. Wieland has received several awards, which most recently include the main prize of the German competition at the 69th International Short Film Festival in Oberhausen and the German Short Film Award. His film work is distributed by argos.

Key aspects of the photographic practice of this passionate traveler and walker are the commitment to analogue technology, constant reflections on the media, and explorations of the relationship between photography and the contexts it deals with (art, society, everyday life). Goran Micevski has exhibited in solo and group exhibitions at home and abroad. Micevski won prizes at the Media Forum festival [within the Moscow Film Festival] and the Alternative Film/Video festival in Belgrade.

Goran Micevski lives in Belgrade.

Gosie Vervloessem is an artistic researcher and performer, living and working in Brussels. In lecture performances, open labs, marketstands, workshops, … she investigates the underlying ideas of our perceptions of nature. Her current projects, The Horror Garden and Sunshine is Calling focus on the relation between the vegetal kingdom and Homo sapiens, seen through the genre of horror. Vervloessem presented her work in Beursschouwburg, Brussels; Naturhistorisches Museum, Bern; Ausstellungsraum Klingenthal, Basel; Lokal Festival, Reykjavik…

Greg de Cuir Jr. is a writer and film curator based in Belgrade (Serbia). He is the selector for the Alternative Film/Video and Beldocs festivals (both in Belgrade). As an independent moving image curator, he has organized programs for the Institute of Contemporary Arts in London; the National Gallery of Art in Washington, D.C.; the Museum of Modern Art in Warsaw; Los Angeles Filmforum; goEast Wiesbaden; Experiments in Cinema in Albuquerque; and other institutions. Together with Kevin Jerome Everson, Greg de Cuir Jr. was the programmer of the 2018 Flaherty Seminar. He is the managing editor of NECSUS: European Journal of Media Studies and has published writing in Cineaste, Jump Cut, Festivalists, Art Margins, La Furia Umana, Politika, and other journals and volumes.

Since 2014, Greg has been the curator of the Avant-Noir screening series at ICA (London). Avant-Noir was conceived to celebrate the work of artists active in this new century who are struggling for a new value and a new perspective placed on the black image in film and video art. These essential films and videos and the artists who created them are in some cases woefully underseen, in other cases known but not celebrated nearly enough. Avant-Noir platforms contemporary film and video work by African and Transatlantic African artists, also presenting other artists who are concerned with visual representations of black culture in its various complex forms.

Hafsa Elazzaoui & Latifa Saber are freelance cooks who both have one foot in the arts scene as co-founders of BAYA collective. BAYA focuses on slowly adjusting the rhythms of our society through collective work, cultural & artistic exploration and the cultivation of intentional space – they hold this space with BAYA’s third member Soukaina Bennani.

Hannes Böck is an artist working with film and video. He studied photography at the Academy of Fine Arts in Vienna and the University of the Arts in Berlin. From 2011-2013 he was “senior artist” in the field of film/video at the Academy of Fine Arts in Vienna. Film aesthetics and discourse of visual studies and historical criticism are the main reference points for his films and photo series. He addresses the mechanisms of inclusion and exclusion used in the postcolonial debate, and critically reflects on the history of visual media. Within the group exhibition SIX SAMPLES OF DISASTER, Hannes presents his film installation SAMMLUNG BAU UND SCHMUCKSTEIN ALTES ROM.

Hardi Kurda is a sound artist, improviser, and founder of SPACE21, a sound art and experimental music platform in Slemani, and the Archive Khanah, an interactive sound archive project using the strategy of computer gaming technology.
He explores radio noises that may have been considered illegal, abandoned, unheard, invisible, broken, distorted, untold, forgotten, or simply noises from nowhere, without a place or destination.
Currently, he is a PhD candidate at Goldsmiths College, the University of London. He developed the notion of “The Found Score” as a listening medium, using everyday materials to reimagine listening experiences through engaging other senses based on his listening experience in times of crisis when he immigrated illegally to Europe.

Hollis Frampton (1936 –1984) was an American avant-garde filmmaker, photographer, writer, theoretician, and pioneer of digital art. He was best known for his innovative and non-linear structural films that defined the movement, including Lemon (1969), Zorns Lemma (1970) and (nostalgia) (1971), as well as his anthology book, Circles of Confusion: Film, Photography, Video: Texts, 1968-1980 (1983).

Ibis Ćerimagić’s artistic practice involves work in the field of alternative photographic processes, with a particular focus on cyanotype, through which she explores the relationships between light, nature, and time. In addition to her artistic work, she has been engaged in the production and curation of cultural, film, and music projects, working across roles such as curator, organizer, and producer. This cross-disciplinary involvement has enabled her to navigate and connect diverse creative communities. Her approach emphasizes collaboration, process-based work, and long-term engagement with both people and place. Ibis’ work continues to evolve at the intersection of ecology, memory, and visual experimentation – grounded in tactile processes and guided by quiet attention to the ephemeral.

Ibro Hasanović is a film, video, photographic and installation artist, concerned largely with the powers of individual and collective memory. As a witness of recent global catastrophic history in Yugoslavia, Hasanović’s practice is concerned largely with geopolitical and social concerns. His work focuses on micro-events, making History with a capital H graspable on the level of the personal, even anecdotal — a masterly technique described namely by Theodor Adorno and largely employed by seminal artists and writers throughout the 20th century — in an attempt to tackle with excruciating and torturous events such as war, loss, persecution, displacement and torture. Rather than addressing the full-blown horror of recent armed conflicts and ethnical belligerency in a moral or activist mode, the artist casts a closer look at what this entails for the individual or certain groups who are exposed to violence, or the sheer memory of it. Violence, when omnipresent, is not detected as being outrageous and blameful. Rather, ordinary people perceive it as a routinely performed act. Hasanović undermines the contemporary epoch that purports violence as a byproduct of politics; as a contemporary status quo.

Ibro Hasanović lives in Paris.

Igor Zabel Association for Culture and Theory (Ljubljana, SI) supports and promotes contemporary art and curatorial practices, art history and art criticism with a focus on Central, Eastern and Southeastern Europe. Building on the legacy of Igor Zabel – an influential Slovene art historian and curator (1958–2005) – the association enables research and explorations in the field of visual arts from a critical, translocal, and interdisciplinary perspective. The association’s recent activities focus on the ability of art, curating, theory, and art institutions to critically and creatively address diverse pressing questions about the future of life on our planet. Forest Encounters thus continues and enhances the association’s work around art and ecology and the need to develop reparative environmental encounters.

The Institute of Forestry, founded by the Government of the Republic of Serbia, will soon be celebrating 70 years of successful practice of basic, applied and development research in the field of forestry and environmental protection and improvement.

Researchers of the Institute of Forestry are leaders and members of many highly rated international and national research project teams. Their projects have been successfully implemented through: establishment of new and improvement of existing forests, reclamation and landscaping of the land degraded by surface mining of coal and other raw materials, afforestation of extremely unfavourable sites, soil erosion control, multifunctional valorisation of urban forests, spatial planning, forest policy, introduction of new technologies of seedling production and breeding, forest tending and protection.

Scientific research profile of the Institute of Forestry has been developed as a synthesis of scientific and expert knowledge in the field of forestry and environmental protection.

The Institute of Spatial Design is part of the faculty of Architecture at the TU Graz. It follows investigations around space, from its development and design to the repercussions of the architectural elements and spaces on the body and society. It is an institute specialised in experimental spatial design focusing on processes. In particular, Dr. DI. Assoc. Prof. Franziska Hederer works around phenomenological ideas on the boundaries of architecture, creating next to Installation artist, curator, Project Manager and artistic researcher Nayari Castillo the programme development of Forest Encounters in Graz.

Forest Encounters opens up possibilities of international exchange for the Institute, fostering new ways of approaching architectural design in harmony with nature.

Irena Bekić graduated in Art History and Comparative Literature from the Faculty of Humanities and Social Sciences at the University of Zagreb, Croatia. Since 2022, she has been the director of the Art Pavilion in Zagreb. Her interests focus on artistic and curatorial practices, as well as their research and socially transformative potential. She regularly publishes articles in the fields of art criticism and visual arts. Additionally, she is a member of ULUPUH (the Croatian Association of Artists of Applied Arts) and AICA Croatia.

Irena Borić is an art historian who works as an independent curator and critic. She holds a MA degree in Art History and History (2009) from the Faculty of Philosophy, University of Zagreb and a MA degree in Arts and Heritage: Policy, Management and Education (2011) from Maastricht University. She often works within temporary collectives that give form to projects such as Shame on You! (2013–2017), net.cube (2015–2017) and Economies of Love/Politics of Feelings (2011-14), which contained both artistic and educational programmes. Her recent exhibitions include Truth that Lies, as co-curator, Utrecht, the Netherlands (2019) and Earth Song’s Low Frequency Tones, Velika Gorica, Croatia (2019). She is a member of AICA and a co-editor at INCA press. At present, she curates educational programmes for the Multimedia Center KIBLA in Maribor, Slovenia.

Ivan Slipčević works with film, video, sound, and electronic music. He has been a member of the Multimedia Institute (net.culture club MaMa) in Zagreb since 2000 when he formed the sound and image design project “zvukbroda” with Tomislav Domes. He organises numerous electronic sound and video workshops, is a director of photography for artist films, and is involved in music and video live performances. He teaches at the Department of Animated Film and New Media at the Academy of Fine Arts, University of Zagreb.

Based in Ghent, Jasper Rigole is a multimedia-artist who works on the border between film and media-arts. He graduated from the film department of the academy in Ghent (KASK) in 2004, and subsequently did a postgraduate in visual arts (HISK), and a PhD in audiovisual arts (KASK/Ugent). Next to his artistic practices he currently is active as a professor and researcher at KASK. In his work, Rigole focuses on the re-use of existing footage to reflect on the closely related theme’s memory and the archive. His largest project up to date, The International Institute for Conserving, Archiving and Distribution of Other People's Memories (IICADOM), is an overarching project focussing on collecting and (re-)evaluating anonymous home-movies sourced from flea markets and thrift stores.

Jassem Hindi جاسم هئدي uses sound, choreography, performance, theory and storytelling. Hindi’s work looks at the irreconcilable opposition between persecution and hospitality. Overflowing with nervousness and necessity, his work uses broken dances, broken objects and broken texts. His pieces use death poems and open them to generate baroque, cruel, cosmological worlds. Hindi’s work is screened internationally and his collaborations have won many awards and nominations (Bessie Award, the Dublin Fringe Jury prize, the PICA Portland Jury’s choice, Hedda pris, 8:tension…).

Jelena Jureša has been extensively working with the questions of identity, politics of memory and oblivion through the media of photography, video and text. The focus of Jureša’s work is the relationship between the observer and the observed within the confines of the image, and what it does and does not convey. Being an artist who works with history and with archives, Jureša investigates the notion of truth on the verge of representation, hence combining private memories with artifacts and political and historical narratives.

She has exhibited in solo and group shows internationally, including her latest solo exhibitions at Künstlerhaus, Halle für Kunst & Medien, Graz and Museum of Contemporary Art in Belgrade. As an artist in residence in Paris in 2004 and 2005, she created the works from the Tourists series. In her latest works, in which she addresses the issue of gender, that is, cultural identity, the narrative is in the foreground and is united with the image in the form of a textual or auditory narration or music (What it feels like for a girl, 2005 – 2009; Mozarts, 2009; Notes on PMS, 2012; Mira: Study for a Portrait, 2010 – 2014; STILL, 2013; Song, 2018). As the Jackman Goldwasser resident artist in 2015, in collaboration with the Hyde Park Art Center at Chicago, she is developing a new art project, tackling the questions and relations of public art – capitalism – patriarchy, as well as the production of male and female histories within this context. As an artist in residence at Q21 in Vienna in 2016, she studied the work of anthropologists and racial hygienists of the Austrian imperial period, as well as politics of oblivion after WWII in Austria. In 2017, she has been granted a research project Unfolding Amnesia, An Interdisciplinary Research into Artistic Practices and the Politics of Oblivion (KASK, School of Arts, Ghent), in which she investigates the politics of oblivion in relation to the construction of a homogeneous national identity in Belgium, Austria and Serbia, and producing her new film.

Jelena Vukićević is a poet, literary critic, and theorist of literature. Her work unfolds across various creative and educational spaces – literature, applied theatre, gender studies, visual anthropology, andragogy, and the slow, thoughtful practices of academic reading and writing. In these fields, she moves as an author, collaborator, lecturer, moderator, and quiet initiator of dialogue. Her poetry and critical essays have found their place in both print and digital pages – textual homes that continue to hold and shape her voice. Her practice is grounded in contemplative attention, in organic rhythms, and the soft erosion of boundaries between voice and body, between space and utterance. It invites slowness not as hesitation, but as a quiet form of resistance; poetry not as ornament, but as a site of renewal; and the word not as an end, but as a seed – fragile, powerful – from which new ways of sensing, seeing, and being in the world might begin to grow.

Jianan Qu is an interdisciplinary artist who works with performance, installation, objects and video. His performances are conceptual, reduced and minimal and have at the same time immense visual impact. Qu’s works have been shown at various renowned international institutions and festivals such as the Ludwig Museum of Contemporary Art Budapest, Kasseler Kunstverein, Vienna Art Week, Krinzinger Lessehause (Krinzinger Gallery), Organhaus Chongqing, Hong Kong Arts Festival, Kunstraum Niederösterreich Vienna, ImpulsTanz Vienna, Oslo LUX, euro-scene Leipzig, OK Center for Contemporary Art, Bruckner Haus, Linz and Festspielhaus, St. Pölten. Jianan Qu lectures at Anton Bruckner Private University Linz (Austria). he was a visiting professor at the University of Applied Arts Vienna (2018), at SOZO Kassel (2018, 2019), CSM Alicante Spain (2018, 2019), Shandong University of Arts China (2017).

Jiyoung Chu was born in South Korea and is currently based in Antwerp. She is both a trained tailor and a visual artist. Drawing from her background in tailoring, she extends her sensitivity to measurement and her ability to transform flat surfaces into volume through poetic methods. Inspired by her professional experiences as a tailor, she develops her own measurement tools and systems, grounded in her own body. These tools act as extensions of her perception—devices that measure not only other bodies and spaces, but also intangible elements such as emotions and relationships. Her practice explores the possibility of a sensory language that precedes or transcends written language.

Johanna Billing has been making video works since 1999 that weave together music, movement and rhythm. Merging the production modes of collective live events and workshops with a cinematic language, Billing in part directs the participants and in part activates a series of improvisations around the notion of performance and the possibility it holds to explore issues of the public and the private as well as the individual in the society as a whole. Billing often addresses political climates and cultural specificities, but more importantly she transforms, through a documentary method, her filmmaking in a fictive space to examine actual and contrived events and how that filmed compression illuminates their overlap. Billing’s films often involve music, which in her hands becomes a tool for communication, memory and reconstruction.

Johanna Kirsch studied at the Academy of Fine Art Vienna, at the KHBerlin and as an artistic researcher at the Jan van Eyck Academy in Maastricht. Her work is an ongoing experiment with different media: text, drawing, photo, sound, video, documentary film, performance and installation. The intersections of the public, the private and the political is what Kirsch searches for and observed them as subjects of body politics, social ecology, identity politics. The ultimate freedom from mastery for all beings is the utopian projection that drives her work. Today Kirsch’s work also focuses on environmental and ecological issues performing different models of identification or separation with/from nature. Kirsch lives and works in Vienna.

Joris De Rycke graduated with a Master's degree in Graphic Design, Graphic Studio at KASK School of Arts Ghent in 2012. Since 2019, he has been working on the creation of new varieties of apple trees, germinated from discarded cores in port areas and transit zones. He is currently developing this collection of apples at the Verbeke Foundation. In addition, he is mapping the urban flora of Antwerp together with a group of amateur botanists and works as an art teacher at Sint-Lucas Antwerp.

The collaborative work of Belgian artists Harald Thys and Jos de Gruyter is rooted in a folksy, tragicomic sensibility honed into an experimental dramaturgy. Their video and photographic work use simple, symbolic sets, including the paradigmatic spaces of home, battlefield, urban periphery and community hall. They have engaged a recurring cast of non-professional actors as well as invented or adopted personae spanning the forms of puppets, dummies, plush animals, makeshift robots and rejected toys. These characters continually rehearse power dynamics and emotional entanglements, creating worlds not unlike our own, yet more focused, bizarre and bleak. The artists seek ways to confront marginal, incapacitated, lost and alienated subjects without defining these 'others' in sociological terms. In this sense, and especially in their novel use of a ghoulish humour, Thys and de Gruyter broaden the scope of reflection on socially produced behaviour.

Judith Engelen creates physical and associative performances in which she combines fast technology with slow literature. After obtaining a master’s degree in Clinical Psychology at KULeuven, Engelen graduated from the Institute of Performing Arts in Maastricht in 2023. Her work has a strong connection to psychiatry, psychoanalysis and biology. In addition to her solo practice, she has worked with, among others, Michiel Vandevelde, Charbel-Joseph H. Boutros and Miet Warlop as a performer/actor.

Karolina Freino works at the junction of different media, predominantly in the public sphere. She explores complex social textures that deal with personal memories and layered histories of the place. She makes visible what is forced to be invisible and excluded, embracing isolation, grief and horror vacui as her subjects. Freino studied at the Academy of Fine Arts in Wrocław, Edinburgh College of Art and the Bauhaus University in Weimar. In 2017 she earned the PhD degree at the Academy of Fine Arts in Warsaw and Academy of Fine Arts in Gdańsk.

Katharina Flich is a freelance artist from Austria. She studied biology and evolutionary anthropology at the University of Vienna. After receiving a regional fine art prize in 2021, she transformed her passion for painting and writing into a profession. She is intrigued by the sometimes surreal poetry of reality that is made visible only through the lens of science.

Katrin Kamrau engages in the processes of image-making and perception in relation to the medium of photography, in particular with regard to their political and historical role in Western society. Her artistic practice is fed by theories of visual culture, feminism and social sciences with a special focus on social interactions, power structures, role models and networks of relations that form around printed images. The artist studied Photography And Media at the University of Applied Sciences in Bielefeld, Germany. In 2012 to 2013 she completed the post-academic program at Higher Institute for Fine Arts (HISK) in Ghent, Belgium. Kamrau has participated in various exhibitions including Bozar (Brussels), M HKA (Antwerp), ikob (Eupen), W139 (Amsterdam), the Bielefelder Kunstverein and Deichtorhallen Hamburg. In 2010 she was awarded the Gute Aussichten – new german photography prize, in 2014 she was awarded the GWK Art Prize and in 2015 the Fernand Baudin Prize for her publication DAS OBJEKT. The federal state of Brandenburg honored her work in 2013 and 2017. In 2016 she did a residency at the Van Eyck Academy in Maastricht, the Nederlands. Publications occupy a central position in her work.

Koen Stuyven, architect by training, has been active in the mobility sector for 35 years, first at the vzw Langzaam Verkeer, then in the cvba VECTRIS. He supervised thematic programs that brought about innovations in the sector: such as the Zone 30 campaign, pilot project program Hoofdstraten in stad en dorp en Leefbare Doortochten, summer schools and courses for training designers of public space (Atelier Publieke Ruimte). He has consistently advocated the integration of mobility and urban planning from a sustainable perspective in courses, lectures and publications, including final editing of ‘Uit de ban van de ring’ with a case study for the Leuven station area.

Koen Theys has been an important figure for Belgian video art. The international success of his work as a student – his work was purchased by MOMA (NY) at the age of twenty – laid the foundation of the first department for video art at a Belgian academy (University College of Art and Design Sint-Lukas Brussels, 1985).In 1989, Theys set up the arts centre Argos together with his brother Frank Theys and a few friends. It became an international renowned place for video art and new media. In 2004, he set up the department for video art at the University College of Art and Design St-Lucas in Antwerp, where he remains a teacher unto this day.Although video and photography remain at the centre of his œuvre, Koen Theys can be considered as a typical post-medium artist – also making sculptures, installation and performance art. In his work we discern a constant occupation with the critical deconstruction of icons of modern culture. Through minimal interventions (displacements, duplications, morphings) these icons are transformed to the extent that they start acting against themselves. The heroes and stars from art history and entertainment culture are made into decorative mass ornaments or fantastic architectonic stage settings. Anti-show shows that aim to oppose modernity and post-modernity.

Kunsthal Extra City exhibits contemporary visual art in a welcoming and unique setting. As a middle-sized, Antwerp-based art organisation, they are firmly rooted in the artistic ecosystem and offer an inspiring hub where artists, art lovers and city residents can come together. With an open gaze, intentional decision-making and attention for the artist, Kunsthal Extra City develops relevant and challenging exhibitions that serve to complement the activities of other arts organisations.

Laila Claessen is a multidisciplinary theater maker from the Netherlands, working in the fields of performance, site- specific theater and sensory food experiences. Her work is covered in dark humor, childish philosophy, and ugly metaphors that twist and turn themselves in search for a bigger meaning. A cute but scary and most of all a disarming mash-up that makes her work recognizable and relatable.

In addition to her work as a theater maker, she is also specialized in Vedic Sciences. She is currently investigating ways to connect these different worlds through her work.

Lala Raščić is a multimedia artist exploring tangible and immaterial cultural formulae to build narratives that are manifested through video, live performances, installation environments, objects and drawings. Her interests are simultaneously trained on contemporary and historical storytelling practices, complex systems of mediated knowledge production, as well as folkloric forms and mythology. Her work inhabits the space between concept and theatricality, often confronting the idea of high culture with popular, mass-media, and traditional cultural expressions, via a critical, namely, feminist position. Her practice at-large encompasses esthetics, feminism, historization and artistic production, as an ongoing, interdisciplinary, and modular endeavor anchored in the narrative and based on the subversion of civilizational tropes and the exploration of their transformative potential set against the backdrop of contemporary ontologies. Through a persistent challenge of the dominant patriarchal authority of ‘telling’, ‘knowing’, or ‘doing’ her position of narrator/maker is inseparable from the female-gendered embodiment of the same. In her work, be it verbally delivering a scripted monologue or dedicating herself to craftsmanship, the act of performing is the emancipatory fact.
She has studied at the Academy of Fine Arts, Zagreb and Rijksakademie van Beeldende Kunsten in Amsterdam. Raščić has exhibited internationally since 1998 in solo and group exhibitions. Amongst others, Raščić had attended artist-in-residence programs at the Museums Quartier, Q21, Vienna; Platform Garanti, Istanbul; and Cite des Arts, Paris. Raščić is the recipient of several awards including the Future of Europe Award and the Henkel Art Award shortlist. She is a member of artists’ associations in Croatia and the Sarajevo feminist organization CRVENA. From 2011 to 2018 she was an active member of the New Orleans artist-run Good Children Gallery. As of 2017, with CRVENA, Raščić administers and organizes the Nona Residency in her studio in Sarajevo, a retreat-themed residency program for women artists.

After completing her bachelor’s degree in Communications and Public Relation and a Postgraduate in Digital Marketing, Latifa Saber entered the artistic field as the communication and community manager at wpZimmer in 2020. Throughout the years, she developed a strategy for the international workspace while simultaneously defining individual working processes for each artist she works with. In 2022 she took a role of Head of Communication of Beyond the Black Box, the international performing arts festival in Antwerp, co-organised by wpZimmer, Monty, 0090, C-takt. Her presence within the art field is not only defined by her work at wpZimmer, but also as a co-founder of BAYA Collective (since 2017). Her work at BAYA is fuelled by the desire to mould and develop an authentic realm that connects creative individuals through collaborative processes. Apart from the tasks of programming and curating, which she shares with her co-founding partner, Latifa is also responsible for managing BAYA’s communication and marketing strategy.

Lea Hartmeyer is a researcher and landscape designer who is currently pursuing a PhD in landscape architecture at the Delft University of Technology in the Netherlands. Drawing on place-based action research, she explores the urban forest as an infrastructure of care. She became interested in care-based landscape architectural research while working on her master’s thesis for which she received the Archiprix NL and the Fritz Schumacher Young Talent Award.

Leonida Kovač is an art historian and theorist, curator, and full professor at the Academy of Fine Arts, University of Zagreb. Her focus of interest lies in contemporary art and critical and feminist theories. She has conceived and realised over forty exhibitions in Croatia and abroad, as well as several international professional and scientific conferences. She has served as commissioner and curator of national presentations at major international exhibitions, including the International Biennial of Visual Arts in São Paulo (2002) and the 50th Venice Biennale (2003). She has held positions in the International Association of Art Critics (AICA) based in Paris, where she was a member of the Board of Directors (1998-2002), Vice President (2002-2005), and again a member of the Board of Directors (2005-2007). In 2002, she received the annual award from the Croatian section of AICA for outstanding critical and curatorial work. She is a member of the International Council of the Katarzyna Kozyra Foundation. She has delivered a series of invited lectures at prestigious European universities and numerous public lectures in Croatian and international museum and gallery institutions.

Loukia Alavanou is a moving image artist and filmmaker. In 2022 she represented Greece at the 59th Venice Art Biennale with the VR360 film and installation “Oedipus in Search of Colonus.” In recent years, after receiving international acclaim, Alavanou founded VRS, the first VR production company in Greece. Alavanou holds an MA in Photography from the RCA in London. She was the winner of the 5th Deste Prize. For the years 2022 and 2023, Alavanou is a fellow artist at ONX Studio, organized by Onassis USA and the New Museum in NY. Alavanou’s work has been presented by institutions and festivals including Accelerator (Stockholm), KANAL—Centre Pompidou, Gucci Garden, Kino der Kunst, Palais de BOZAR, Palais de Tokyo, Athens Biennale, Moscow Biennale, Fiorucci Art Trust, The Museum of Cycladic Art.

Maja Hodošček is an author of video works and installations, she initiates workshops, and curates exhibitions. Her practice is research-based and experimental, focusing on performance, behaviour, and modes of learning. She finished her MA at the Dutch Art Institute in Arnhem, NL. Her work has been shown in international group exhibitions such as Estudiotik At. 5. Years of Creation, Tabakalera – International Centre for Contemporary Culture (Donostia), Spain; Hidden Curriculum, tranzit.sk, Bratislava; Beyond the Globe, Moderna galerija, Ljubljana, South by South East, Guangdong Times Museum, China. She had solo exhibitions in Dom omladine, Belgrade, Museum of Contemporary Art – MSUM, Ljubljana, Miroslav Kraljević Gallery, Zagreb, ŠKUC Gallery Ljubljana, and Gallery Gregor Podnar, Ljubljana. In 2020 she received the Rihard Jakopič national award for artistic achievements, and in 2010 she won the OHO Award. She was an artist in residence in Tabakalera – International Centre for Contemporary Culture in San Sebastian (2019) and ISCP New York (2010).

Mane Radmanović is a visual artist and a graphic designer. He studied at the University of Applied Arts in Belgrade. His graphic design practice spans more than two decades and includes diverse interests and projects, most notably in the field of independent culture and in collaboration with cultural institutions (galleries, museums, cultural centres). Radmanović’s interests revolve around visual arts and experimental approaches to graphic design, as well as in education and numerous graphic-design workshops that he organizes at festivals and conferences across Serbia. Next to design, Radmanović is active as a photographer and a member of the contemporary photography collective Belgrade Raw. Radmanović has published two independent books: “Studio Pure presents 5” and “I don’t like hanging around with graphic designers. They are self obsessed and boring.” His visual art has been exhibited in numerous solo and group exhibitions. He lives and works in Belgrade.

Manuel Groothuysen is a Dutch-Iranian performance artist who creates sound-driven performances based on his feelings, thoughts, analyses, fears and fascinations surrounding themes located on the spectrum between existentialism and spirituality. His own troubled mind and the eternal process of its healing have been the spark of a fire of curiosity towards the miraculous absurdity of existence and our human quest towards meaning and belonging. Paradoxically so, Groothuysen uses the human body in his work (both that of himself and of consensual others) in an attempt to deconstruct the idea of humanity as the center of reality. It is a rarity for Groothuysen to not connect the physicality of the human body to the medium of sound.

Marjetica Potrč is an artist and architect based in Ljubljana. Her work has been exhibited extensively throughout Europe and the Americas, including in such major exhibitions as the Venice Biennial (1993, 2003, 2009, 2021) and the São Paulo Biennial (1996, 2006). She has exhibited regularly at Galerie Nordenhake in Berlin and Stockholm since 2003. Among her important exhibitions are shows at the Guggenheim Museum, New York (2001); the List Visual Arts Center at the Massachusetts Institute of Technology (2004); the De Appel Foundation for Contemporary Art, Amsterdam (2004); Portikus Gallery, Frankfurt (2006); The Curve at the Barbican Art Galleries, London (2007); the Max Protetch Gallery, New York (2008); the Hamburger Bahnhof – Museum for Contemporary Art, Berlin (2013, 2018); the PAMM Perez Art Museum, Miami (2015); Kunsthall Trondheim (2017); FLORA ars+natura, Bogotà (2017); the Yinchuan Biennial, MOCA, Yinchuan, China (2018); VISUAL, Carlow, Ireland (2018); the NTU Centre for Contemporary Art, Singapore (2019); Künstlerhaus Vienna (2020); and MAXXI, Rome (2021). Her many on-site projects include Dry Toilet (Caracas, 2003), Power from Nature (Barefoot College, India, and Catherine Ferguson Academy, Detroit, 2005), The Cook, the Farmer, His Wife and Their Neighbour (Stedelijk goes West, Amsterdam, 2009), Between the Waters: The Emscher Community Garden (Emscherkunst.2010, Essen, 2010), Théâtre Évolutif (Evento 2011, Bordeaux, 2011), The Soweto Project (9UB, Soweto, SA, 2014), and Of Soil and Water: King’s Cross Pond Club (Relay Art Program, King’s Cross, London, 2015).

From 2011 to 2018, she was a professor of social practice at the University of Fine Arts/HFBK in Hamburg, where she taught Design for the Living World, a class on participatory practices. She has also been a visiting professor at a number of other institutions, including the Massachusetts Institute of Technology (2005) and the IUAV Faculty of Arts and Design in Venice (2008, 2010).

Potrč has received numerous awards, grants, fellowships, and residencies, including a grant from the Pollock-Krasner Foundation (1993, 1999); the Hugo Boss Prize (2000); a Caracas Case Project fellowship from the Federal Cultural Foundation, Germany, and the Caracas Urban Think Tank, Venezuela (2002); the Vera List Center for Arts and Politics Fellowship at The New School in New York (2007); the Curry Stone Design Prize (2008); and a residency at the Headlands Center for the Arts, San Francisco (2018).

Marjolijn Dijkman, artist and co-founder of Enough Room for Space, lives and works in Brussels (BE) & Lahaymeix (FR). She graduated from the Gerrit Rietveld Academie in Amsterdam in 2001, the MFA Piet Zwart Institute in Rotterdam in 2003, and was a researcher at the Jan van Eyck Academy in Maastricht in 2006 – 2007. She is currently part of the artistic research cluster Deep Histories Fragile Memories as a Ph.D. candidate at LUCA—School of Arts Brussels / Leuven University, supervised by Wendy Morris and Kyveli Mavrokordopoulou (2023-2027). In 2005, Marjolijn Dijkman founded Enough Room for Space (ERforS) with Maarten Vanden Eynde. Enough Room for Space is an interdependent art organisation that initiates experimental collaborative research projects. They tend to act as freely as possible, challenging the barriers between disciplines (artistic, scientific, or activist).

Marthe Koning studied visual arts at Artez in Arnhem. She is at this moment a student at the Performing Arts Academy Maastricht. She uses reality and staging as two elements that continuously interact. The influence of the Art Academy is clearly visible in the visual qualities of her performances and in a preference for the use of film. This last medium for her is specifically convenient in questioning expectations. Film has the tendency to count on our expectations. By allowing discontinuity, a new universe opens up to the mind.

Dr. Mateja Kurir is a philosopher, researcher, and editor. She was a visiting researcher at the Department of Architecture, KU Leuven (2015), and a postdoc researcher at the University of Rijeka (2017). Currently, she is the manager of LINA platform. She published Arhitektura moderne in das Unheimiche (2018) and co-edited Garden and Metaphor (2021). As the editor of O oblasti v arhitekturi (On Power in Architecture, 2021), Kurir received the Plečnik’s Medal 2022 in the field of architectural theory, criticism, and publication. Kurir lives in the countryside surrounded by a forest, where she spends her free time walking and researching, as the forest amazes her as a space of calmness and harmony.

Meggy Rustamova (°1985) born in Tbilisi, Georgia, and currently lives and works between Sint-Niklaas and Brussels, Belgium.

​Meggy Rustamova’s practice involves films and installations that articulate images, gestures and sounds and often bear a performative nature. Concerned with the relations between individual and collective memory, language and human behaviour, her works look for ways to translate contemporary social issues.

Melisa Yağmur Saydı is an experimental filmmaker and a video artist. Focusing on the material characteristics of video, her formal explorations revolve around pixelization, low resolution videos, drawings, collage and 2D animation. She often deals with overexposure to media, the urban experience, the political climate of Turkey and the fluctuating states of mind of the contemporary individual under neoliberal circumstances.

Artists Meggy Rustamova, Pieter Geenen, Eitan Efrat and Sirah Foighel Brutmann formed Messidor in order to discuss, to question and to practice the value of joining forces in today’s artistic realm, in Belgium and abroad.

Messidor maintains the capability of adapting to its artists’ changing needs for producing artworks, presenting them and promoting a dialogue.

Alongside a joint effort to distribute their work and to share means of production, Messidor’s artists invite colleagues from different disciplines, in a series of events, to share and speculate together on practice-based concerns as well as to discuss issues that affect current political environments.

Minna Henriksson is a visual artist who works with a disparate range of tools including text, drawing, linocut and photography. She studied art in Brighton, Helsinki and Malmö, and since then lived long periods in South East Europe. In 2009 she returned to Helsinki and was faced with urgency to respond to increased nationalism and racism. Her work is often collaborative, and relates to the anti-racist, leftist and feminist struggles. In recent years her work has often dealt with archives and histories. Her work is research based and engages with covert political processes that appear to be neutral or natural. In 2017 she was awarded with the Anni and Heinrich Sussmann Award of artistic work committed to the ideal of democracy and antifascism.

Mirjana Dragosavljević is an art historian and curator; MA in Art History, Faculty of Philosophy, Belgrade University. She worked in the Grafički kolektiv gallery (2008-2010), was a member of the curatorial collective Kontekst kolektiv (2010-2013) and the working group Four Faces of Omarska (2010-2016). She curated the exhibitions: “Art Matters, but Art is Not Enough”, Center for Contemporary Art in Celje, Slovenia (2016); “Silence is deafness here”, Cultural centre of Belgrade, Belgrade, Serbia (2019); “If only the day was longer”, Art55 Gallery, Niš, Serbia (2020). Together with other members of STATION Service for contemporary dance Belgrade she curates the Kondenz festival of contemporary dance and performance (since 2016). Together with Milutin Dapčević, Dušica Dražić, Selena Orb, Vladimir Pejković, Katarina Popović, Tanja Šljivar and Igor Vasiljev she was the member of the team of Serbian pavilion titled “Self-upbringing: Scene work ahead” at the Prague Quadrennial of Performance Design and Space, Prague, Czech. She was also a member of the editorial board of portal Mašina (2014-2021). She is a member of AICA.

Egyptian artist Moataz Nasr explores traditions and new globalism, questioning geopolitical and social development in the Middle East and Africa. Using his artistic practice as a language that embraces sociology, spirituality and history in order to encourage dialogue across geographical boundaries. Nasr’s most recent group exhibitions include The Sea Is My Land, MAXXI, Rome, 2013; Metropolis: Afriques Capitales, La Villette, Paris, 2017; Senses of Time: Video and Film-based Arts of Africa, LACMA Los Angeles and The Smithsonian National Museum of African Arts, Washington D.C., 2017. In 2018 the artist was invited to participate in the Yinchuan Biennale, China, as well as the International Contemporary Art Exhibition (ICAE2018) in Yerevan, Armenia. Nasr’s most recent solo exhibitions include: The Tunnel, Galleria Continua / Beijing, 2012 and Avalanche, Galleria Continua / Les Moulins, 2016. In 2017, Nasr was been selected to represent Egypt at the prestigious 57th Venice Biennale. The work presented in the Egyptian Pavilion was an immersive installation showing the original film The Mountain. In 2018, he has been invited to take part to "Abu Dhabi Art 2018 Beyond" and create a site-specific work in in Al Ain, UAE.

In addition to his artistic practice, Moataz Nasr is the founder of Darb 1718, a non-profit arts and culture space in Cairo which hosts a programme of events, such as film screenings and workshops that aims to expand dialogue through community engagement and outreach. Darb 1718 has also established a comprehensive database of Egyptian, Middle Eastern and North African art.

Monika Lang works as a freelance illustrator and graphic designer, chiefly on culture-related projects. Monika was co-founder of “Turbotomorrow” together with Željko Lončar, Nenad Trifunović i Lazar Bodroža, a design collective established in 2006. In addition to illustration and print design, she also researches screen printing techniques, mural painting and other media of visual expression. Her favourite motifs are flora and fauna.

MORPHO is a non-profit organisation dedicated to artistic development. It gives time, space and resources to artists by providing residencies and studios, with the aim of fostering a dynamic and sustainable context for artistic work.

As a studio provider, MORPHO rents out workspaces in a growing number of buildings in and around the city of Antwerp. They focus on maintenance and affordability and actively participate in debates on studio policy. With a visitor's programme for curators and open studio days for a wider audience, MORPHO brings diverse studio occupants - from visual artists, musicians, writers, designers, costume makers to furniture makers - into the limelight.

As an artist residency, MORPHO organises different types of residencies focusing on local development (via open call) and international exchange (depending on the partner), annually hosting around 20 residents from Belgium and abroad whom they support in their projects and trajectories. The programme consists of weekly collective sessions guided by the artistic team and professional guests. Residents receive financial, practical and artistic support to develop their work in an environment that encourages dialogue and experimentation.

Nataša Šuković is an art historian and curator from Rijeka. From 2011 to 2015 she worked at the Museum of Modern and Contemporary Art Rijeka as project manager and producer. In 2015 she started working as a curator and took over the management of the MMSU collection of prints and the specialized collection Romolo Venucci and Kamov residential program (up to 2017). In 2016, she was part of the team in charge for Rijeka’s preparation for the European Capital of Culture second round. Šuković is a member of curators collective BurnHub, whose exhibitions include, among others, Silent shout: The whole story can only be whispered into your ear, Podroom Gallery, Belgrade, Serbia, 2017, Tomislav Gotovac, Don’t ask where we’re going, MMCA, Rijeka, Croatia, 2017, House of Arts, Ústí nad Labem, Czech Republic, 2017-2018, MGML, Ljubljana, Slovenia, 2018 (with Ksenija Orelj).

Nayarí Castillo is an artist and researcher specializing in installation art and art in public space. Her often site-specific interventions engage with history, temporality, and spatial dynamics, with a strong emphasis on perception and audience engagement. Castillo’s artistic language spans text, video, photography, objects, and found artifacts, through which she constructs layered spatial narratives. With over two decades of experience across artistic, academic, and large-scale transnational projects, Castillo has worked as an artist, curator, project leader, and artistic researcher at all levels of project development. She is currently a research associate at the Institute of Spatial Design at Graz University of Technology (Austria), where she is actively involved in collaborative art practices through platforms such as SIMULARR and ecological art initiatives like Forest Encounters. In addition to her research, Castillo teaches spatial experimentation at TU Graz and Conceptual Art at the University of Teacher Education Styria (PH Steiermark).

Nicole Hewitt is a visual artist working in film, video, installation, performance and text and a researcher in the field of contemporary art theory and practice. Hewitt completed her MA in Fine Art Media and gained her PhD in Fine Art (2013) at the Slade School of Fine Art. Her work has been concerned with memory, history and narrative as mediated through technologies of representation and preservation. She has recently completed a long term episodic series of performance/ texts “This woman is called Jasna” and is now continuing her research into history and forms of archaeology in a project called “Women Minor Speculations”.

Hewitt had several solo and group shows and her films have been screened and awarded at numerous international festivals. She is a member of art practitioners’ and theorists’ collective Centrifugal (Helsinki, Belfast, Zagreb, London, Priština). She is a lecturer at the Animation and New Media Department of the Academy of Fine Arts in Zagreb, is a visiting lecturer at The Cass School of Art in London and was a visiting lecturer at Goldsmiths College, Visual Arts Department from 2009/2011.

KUD Obrat / Obrat Culture and Art Association is a small non-profit organisation which was established in 2006 in Ljubljana, and consists of Stefan Doepner, Urška Jurman, Polonca Lovšin, and Apolonija Šušteršič. Program focuses on production, research, presentation, and education in the field of contemporary art and critical spatial practices. The work is transdisciplinary while addressing diverse issues concerning contemporary society.

OUT OF SIGHT was founded in 2018 by artists Dušica Dražić and Wim Janssen. In 2024 we opened a new space, close to the Central Station Antwerp.

Imagine a shared kitchen table where a meal is served, and conversations emerge. The concerns of the day are discussed, and guests invited to the kitchen table are introduced to the internal world of the house. The dynamism and encounter created around the kitchen table is what we look for.

The program is build around cooperation among artists, art workers, art organisations and the public at large., both locally and internationally. We strive for a critical approach, with the objective to support development and presentation of audio-visual, experimental and performative artistic practice that are outside the logic of consumption and markets.

Through citizens' participation OUT OF SIGHT aims to find a potential hidden within what is often perceived as different, marginal or even unwanted. We make room for the ephemeral and the ambiguous. We provide space where the poetic and the political meet.

Petra Mrša graduated in Photography from the Academy of Dramatic Arts, Sociology from the Faculty of Humanities and Social Sciences, and Psychology from the University Department of Croatian Studies at the University of Zagreb. Her artworks are included in the collections of the Museum of Arts and Crafts in Zagreb, the Museum of Modern and Contemporary Art Rijeka, the Rigo Gallery, and the City Museum of Zagreb, and have been exhibited at numerous solo and group shows. Pazzini Editore published her artist book New School and Museum of Modern and Contemporary Art Rijeka published her artist book Rehearsing family. She was a resident among others at Q21, MuseumsQuartier (Vienna), Cité Internationale des Arts (Paris), Bluecoat Centre for the Contemporary Arts (Liverpool). She initiated numerous self-organised art education programmes and collaborative projects. The primary field of her artistic work lies in researching the ways in which cultural norms and customs shape the lives of individuals.

Pieter Geenen (°1979 Hasselt) is an audiovisual artist, photographer and filmmaker based in Brussels. His work revolves around places, communities and events situated between appearing and disappearing, forgetting and remembering, destruction and resurrection, the utopian and the dystopian. They are subject to imperialism, war, oppression and persecution, migration, economic changes, globalisation, powers of nature, etc. Through strategies of inversion, mirroring, repetition, deconstruction and restructuring he approaches landscapes, spaces and elements where and around which people gather, coexist or live in conflict. They connect people and places who don’t seem to share a common ground at first sight and remain merely exotic to the western mind. However, working across communities and locations activates potential new readings of the past and the present, and opens our understanding of concepts like land, borders, colonisation, (im)mobility, belonging and identity. His practice reflects his interest in the potentiality of the gaze by exploring the relations between duration and memory. With his observational and place-based practice he aims to bring the ever evolving world to a standstill, a pause, where doubt arises, by manoeuvring between the imagined and the real, the static and the moving, image and sound. In that process he employs different media and technologies which often fail to live up to their inherent promise. Instead he embraces these mistakes, imperfections, errors and flaws.

A selection of solo exhibitions: Argos, Brussels (BE); Annie Gentils Gallery, Antwerp (BE); Musée d’Ixelles (BE); V2Vingt, Brussels (BE) and beeldende kunst Strombeek/Mechelen (BE). Selected group exhibitions: International Film Festival Rotterdam (NL), Biennale de l’Image Possible (BIP), Liège (BE); M-Museum, Leuven (BE); La Capella, Barcelona (ES); FRAC Basse-Normandie, Caen (FR); Argos, Brussels (BE); Médiathèque FMAC, Geneva (CH); Be-Part, Waregem (BE) and CIAP, Hasselt (BE). Selected screenings: New York International Film Festival (US); Hong Kong International Film Festival (HK); VIDEOEX, Zürich (CH); Doclisboa (PT); Images Festival, Toronto (CA); EMAF, Osnabrück (DE); EXiS Festival, Seoul (KR); FID, Marseille (FR); Rencontres Internationales, Paris/Berlin/Madrid (FR/DE/ES); Centre Pompidou-Metz (FR) and Beursschouwburg, Brussels (BE).

He was awarded the 2007 Input/Output Art Prize and the 2011 Art’Contest Art Prize. In 2018 he was artist-in-residence at R.A.T. Mexico City (MX). His work is part of the collections of the Flemish Community; Argos, Brussels (BE); Colección INELCOM Arte Contemporáneo, Madrid (ES); Emile Van Dorenmuseum, Genk (BE); and different private collections.

Polonca Lovšin is an architect and artist. Her projects are built around small details that reveal complex environmental issues and suggest alternative solutions. She combines disciplines of art, architecture, and political ecology with local knowledge using methods of self-organization and participation. She is a co-founder of the Obrat Culture and Art Association, which, together with neighborhood residents, developed a 12-year-long spatial, ecological, and community experiment, community garden Beyond a Construction Site (Ljubljana, 2010 – 2022).

Géraldine Py is a multidisciplinary artist, building sculptures, machines and moving installations, she works with both organic and synthetic elements and produces videos featuring construction machines.

Roberto Verde is a multidisciplinary artist, inspired by science and nature, making sculptures and installations from ordinary elements like water, pipes, buckets and also works with live animals.

Their respective practice quickly evolved towards a hybrid and collective form: the whole is greater than the sum of its parts. They carry out interdisciplinary and experimental research, in which nature is an integral part of the poetic process. It is an endless quest for a living and autonomous work.

Rabten Tenzin makes subtle, contemplative pieces that reflect a personal spirituality that is always in motion, always in search of. His artistic practice is deeply intertwined with his life philosophy, focusing on impermanence, transformation, and memory, influenced by Buddhist thought and Tibetan culture. He delves into these themes through various mediums, avoiding a singular subject or technique. Through paintings, drawings, video, writing, site-specific projects and installations that often use fragile materials highly susceptible to change, such as loose pigment or incense ashes. His visual language is defined by simplicity, fragility and poetic sensibility. Rabten explores the transience that is present in all that we see and know. With his poetic use of materiality he hints at an immaterial side of existence, and invites the viewer to expand their understanding of the world around them.

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Ratko Rakin works in the field of communication and marketing, collaborating on international and national projects, for organisations and individuals, a.o.: Passacaille Records – an independent classical music label led by Jan De Winne, wpZimmer – a workspace for performing arts, OUT OF SIGHT – a venue for contemporary art, BL!NDMAN – a band directed by composer Eric Sleichim. In 2022, he organised three exhibitions at Exhibition Space XPO Antwerpen.

During his 15-year journey in Belgrade, Ratko worked in communications and marketing across various sectors, specialised in communications in the arts and culture field, working with prominent institutions and organisations in the Balkan region. These include the National Theater in Belgrade, the Exit Festival in Novi Sad, the National Broadcasting TV and Radio Station, the October Salon Belgrade Biennale, the Belgrade Cultural Center, and the Mikser Festival.

After earning a master’s degree in Museums, Galleries, and Contemporary Culture from the University of Westminster, UK, through the prestigious Chevening International Scholarship program, funded by the Foreign, Commonwealth, and Development Office (FCDO) Ratko Rakin moved to Belgium and currently lives in Brussels.

Reni Hofmüller is a media artist who works primarily with sound (live performance, installation, radio composition) and has long been interested in space. This includes physical space such as the esc medien kunst labor Graz where she has been since its founding in 1993. She focuses on art in a technological context, including the examination of public space as a social project and a place for artistic intervention. Equally important for her is media space: radio and the internet, including the exploration of digital tools. In this realm she is primarily concerned with concepts of free software, open source, and open hardware. She was instrumental in the creation of Radio Helsinki, the free radio station in Graz, as well as mur.at (a platform for non-commercial use of the internet for artists and cultural workers) where she is still active.

Rhh is an instrumental drums-electronics duo comprised of Laszlo Umbreit and Eitan Efrat. Laszlo Umbreit is a sound designer and musician based in Brussels. His work is anchored in sound research yet usually dialogues with the moving image, whether as present or absent. His musical practice mixes improvisation on electronic instruments, field recordings and a long meticulous editing and mixing process of sonic materials. Eitan Efrat is a drummer and audiovisual artist whose practice focuses on the performative aspects of the moving image. He is also a co-founder of MESSIDOR collective.

Ria Pacquée had her international breakthrough in the 1980s with her performance series featuring characters she created – ‘Madame’ and ‘It’. Infiltrating reality by means of these two personae, she carried out an artistic investigation of the thin dividing line between the fictional and the actual. In more recent work she has tended to concentrate on photographic and video productions, in which the experiences gained as a performance artist still play an important role. As a spectator (photographs and videos) of public life and as a participant (performances), Pacquée tries to find answers to the most elementary questions of existence. Pacquée lives and works in Antwerp.

Rik Van Gorp is a visual artist who studied at LUCA School of Arts in Ghent, in the painting department. He currently lives and works in Turnhout.

Van Gorp paints objects that, through their conventions, become vehicles for his narratives. His practice spans multiple media, with works often occupying the border between painting, installation, utilitarian object, and performance. Notably, textiles and paint on canvas are recurring and striking materials in his work.

He draws inspiration from cultural traditions that have largely lost their original meaning—where only the outward form remains. Whether referencing religious customs, such as a coffee table after a funeral, or the didactics of fashion houses in marketing their creations, Van Gorp disarms these unspoken truths, stripping away their contemporary interpretations.

His work moves between recognisability and alienation. He dissects cultural rituals and everyday scenes, reshaping them with a sharp yet poetic gaze. In doing so, Van Gorp invites viewers to reconsider the familiar and question what is often taken for granted.

Samah Hijawi سماح حجاوي is a multimedia artist (a painter, a performer, an astrologer, a story teller, a researcher and an academic, a cook—it’s up to you to decide). Regardless of the form through which she materialises her work, her projects are always deeply rooted in historical narratives which are used to re-imagine our contemporary life outside of the radicalised and polarised discourses that direct our lives today. In her recent project Kitchen. Table., she researches the movement of food practices over time and across geographies, and the body as a site of food memory. The research materialises in food map posters and performative dinners that map out the stories and spectacular trails of migration of plants, herbs and spices—to unfold the politics of the food on our tables.

Sandra Coumans was a founding Board Member of Out of Sight, active from 2019-2024.
Sandra has been doing arts management in the (international) cultural sector since 2005, next to having a degree in Art history and Philosophy from Amsterdam and Berlin. She has worked in a range of different organisations and roles, such as a bottom-up arts festival in Berlin, the European Commission, with different European cultural networks, or as expert advisor.
This has enabled her to build up a vast network, and extensive transversal and transnational knowledge, such as in cultural heritage, interactive digital technology, contemporary arts or fashion & design. In 2017, she started her own consultancy firm, Culture le Hic, with which she helps cultural organisations focus on their strategic development aimed at strengthening their structural functioning and bringing out their innovative potential.

Sarah Smolders handles the conditions in which space is created, viewed and lived. To them, these conditions are material, political and affective, connected to the gazes and the bodies that move around in this space.

"Speaking in a space starts with listening to this space. A space that is both material, immaterial, historical, political and physical."

Site-specific gestures and painterly actions invite different ways of looking and moving. They are also the building blocks of a spatial vocabulary that Smolders repeatedly revisits and translates in order to read and touch upon new places. In this way, a practice unfolds in which ‘work’ appears both as labour and as form.

Starting from painting, Smolders seeks out the company of material, architecture, and language in order to understand space as shaped by time, movement, and memory.

Using storytelling, video and performance, Sina Seifee سینا سیفی explores and teases the heritage of zoology in West Asia. His work is about how epistemologies, jokes and knowledge about animals take shape in the old and new intersections of techno-media and globalism. His work has been shown internationally at City Gallery, Prague (2022); WIELS, Brussels (2020); SAVVY Contemporary, Berlin (2016); Sharjah Art Foundation, UAE (2018); Haus der Kulturen der Welt, Berlin (2017); Temporary Gallery, Cologne (2019); and Akademie der Künste der Welt, Cologne (2015).

Siniša Ilić is a visual artist who combines works on paper with installation, video, and performance, focusing on social phenomena and mechanisms by exploring forms of labour, societal tensions, violence, unstable situations, and cultural heritage, as well as finding ways to nurture friendship and solidarity. He often approaches topics from a historical perspective, questioning how past events seep through the cracks and reconcile with the present moment. Ilić explores forms of collective work and the position of the artist as curator, and engages in the design of performance spaces. Orientation in 100 Revolutions was developed with Bojan Djordjev, theatre maker. Ilić and Djordjev have collaborated on numerous artistic projects since 2000, and both are among the co-founders of TkH-Walking Theory, an art and theory platform (2000–2017).

Sirah Foighel Brutmann & Eitan Efrat are working in collaboration, creating works in the audiovisual field, installation and performance, currently living in Brussels. Their practice focuses on the performative aspects of the moving image. In their work they aim to mark the spatial and durational potentialities of reading of images – moving or still; the relations between spectatorship and history; the temporality of narratives and memory and the material surfaces of image production.

Sirah and Eitan’s works have been shown in duo exhibitions in Kunsthalle Basel (CH); Argos, Brussels (BE) and CAC Delme (FR); at group exhibitions in Argos (BE); Museum für Kunst und Gewerbe, Hamburg (DE); Portikus, Frankfurt (DE); Jeu de Paume, Paris (FR) and STUK, Leuven (BE). In film festivals such as EMAF, Osnabrück (DE); Atonal, Berlin (DE); Doc Lisboa (PT); Oberhausen Film Festival (DE); Rotterdam Film Festival (NL); Les Rencontres International, Paris and Berlin (FR/DE); New Horizons, Wrocław (PL); Images, Toronto (CA); 25FPS, Zagreb (HR). They are currently teaching at ERG, Brussels.

Sirah and Eitan support the struggle for the liberation of the Palestinian people in Palestine and around the world. And support the BDS (Boycott, Divestment and Sanctions) campaign against the Zionist colony in Palestine.

The Slovenian Forestry Institute is a public research institute of national importance, which conducts basic and applied research on forests and forest landscapes, forest ecosystems, wildlife ecology, hunting, forest management, and other uses of the resources and services forests provide. The scientific knowledge from these fields helps further the research on forest biodiversity and its management in relation to climate change.

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Tanja Šljivar is a playwright born in Banjaluka, SFR Yugoslavia in 1988. She holds both BA and MA degrees in dramaturgy from the Faculty of Drama Arts in Belgrade as well as an MA degree in Applied Theater Studies from the University of Giessen. She has written seven full-length plays and several short ones, which have been published, publicly read and staged at many European theatres. She also writes film screenplays, short stories, radio plays, texts for visual arts projects and theatre-theory texts. She has won several awards for her playwriting. She has been a guest of writing residences: IHAG and St. Air in Graz, Q21-MuseumsQuartier and KulturKontakt in Vienna, “Prishtina has no river” in Prishtina, and “Reading Balkans” in Split. She is a member of the artistic platform Björnsonova and the leftist activist movement ZA Krov nad glavom. In the autumn of 2020, she started working on her debut novel, supported by IAS at CEU in Budapest.

Ted Oonk is a Dutch contemporary artist who lives and works in Belgium. She received a MFA in Photography from St.Joost Academy in Breda. She also holds a MA in Filmstudies and Visual Culture from the University of Antwerpen.

The work of Ted Oonk is mainly centered around the many ways we both mask and bring to light vulnerability, standards and norms in our visual culture. Her artistic practice probes in that regard for a specific sensitiveness concerning socio-cultural and normative representations of the stereotypical other, but also plays with notions of the human necessity to categorize and use standards. One question guides her work very much: If the act of looking is marked by (often one-sided) normative representations, how can photography and/or video provide for pluralistic or critical ways to look at visual material?

Oonk’s work has been shown nationally and internationally. They have been exhibited at a.o. Guislain Museum Ghent, Fotogalerija Stolp Slovenia, Texture Museum Kortrijk, ENTER Festival Brussels, Kigoja Art Space Seoul, Mostyn Museum Wales, The Indianapolis Museum of Contemporary Art, Photoville New York, The National Art Studio Seoul and Photo Festival Naarden. Works were also published in Der Greif Magazine, Humanize Magazine and on Self Publish Be Happy.

Tevin Mulumba aka Tevin MK is an artist with a love for blending genres and telling stories through music. His journey has spanned diverse genres, with a particular affinity for hip-hop, and passion for storytelling shines in his songwriting, crafting various narratives and reflective lyrics. In the realms of sound engineering, recording, music production, beat-making, songwriting, and vocals, Tevin MK brings a versatile and unique touch to his craft, while as a sound engineer, he delicately shapes sounds, aiming for immersive experiences.

Titta C. Raccagni is a researcher of arts and life from Italy where s/he lives and works. S/he studied and graduated in history of cinema at University and filmmaking at the Cinema Academy of Milan. S/he has worked and experimented with video in the following genres: documentaries, short movies, live performances, and visual arts. She has worked with many different clients, associations, teams, and artists.

Tomislav Brajnović completed his first year of study in fine arts in The Haag and in 1999 graduated at the Academy of Fine Arts in Zagreb. In 2003 he earned the MA in Fine Art at Central St Martins College of Art & Design in London. Brajnović teaches New Media, City Mapping and Recontextualization at the Academy of Applied Arts in Rijeka. Since 2007, Brajnović has been running a project-gallery “Studio Golo Brdo”. He is also the author of the project “Supper with the artist”.

Brajnović is an artist whose works are frequently shown in public space. He has exhibited in solo and group exhibitions at home and abroad and participated in several artist-in- residence programs: Frans Masereel Centrum (Kasterlee), Sense in Place (Cardiff), BUK (Baranja), The Arctic Circle (Svalbard). Brajnović received numerous awards, grants and recognitions for his work, such as Pollock-Krasner Foundation Grant in 2000 and 2009.

Tonka Maleković is an artist whose works are often site- and city-specific participative actions, temporary interventions or lived experiences, wherein she recomposes a given context, in order to reveal subtle tendencies, empower social, environmental or personal potentials, or to create new symbolical relations between found elements.

Maleković graduated from the Academy of Fine Arts in Zagreb in 2006. She has exhibited in numerous exhibitions in Croatia and abroad, realized a number of projects in public space and received several awards and recognitions for her work among them: Essl Award CEE, Zagreb Salon Award, Young artist award HDLU, etc. She is a co-founding member of Loose Associations and a member of PUNKT. In 2012 she initiated the Hallway-gallery LiberSPACE – outdoor gallery for ephemeral interventions.

In her project “Spaces Between (living) Places” about economic migrations, the artist erased boundaries between life and artistic production while starting a new life in a new identity role in Germany. She is currently living in Köln, working as an artist as well as in a vegan restaurant and attends a C1-course of German language.

Ulrike Ottinger was born on June 6, 1942. She lived in Paris from 1962 to 1968, working as a painter and photographer. In 1966 she wrote her first screenplay, directed her first movie Laookon & Sons in 1972-73. In 1969, she founded the film club "Visuell" and and the art gallery and edition "galeriepress" in Konstanz. Since 1973 she has been living in Berlin. In addition to making films she stages operas and plays, and as well as exhibiting her photographs at international exhibitors and showing her films at retrospectives.

Urška Jurman is an art historian and a sociologist of culture. She is active as a curator, editor, and writer in contemporary art. Her work intersects art, critical spatial practices, ecology, and active citizenship. She is a co-founder of the Obrat Culture and Art Association, with which she co-authored many projects, including the community garden Beyond a Construction Site (2010–22). In 2021 she co-initiated (with Elke Krasny) the Ecologies of Care working group. Since 2013, she has been the Igor Zabel Association for Culture and Theory program director in Ljubljana.

Ursula is an Antwerp based collective of female artists Meltse Van Coillie, Jana Coorevits, Lydia Hannah Debeer, Ans Mertens, Alex Schuurbiers, Isabelle Tollenaere, and Kathy Vanhout working with the moving image. Named after Ursula K. Le Guin, and inspired by her “Carrier Bag Theory of Fiction”, the group aims to gather and meet, rather than conquer or hunt, to exchange stories, network, knowledge and friendship.

Vanessa Mayoraz has been an Assistant Professor of Extended Media at East Tennessee State University since 2015. She received a BFA from the Haute Ecole d’Art et Design in Geneva, Switzerland, and an MFA in Art and Public Spaces and New Artistic Strategies at the Bauhaus University Weimar in Germany. Mayoraz interest centers on observing the paradoxical relations built between humanity, social landscape and the natural world. One could say that her work is the result of an analytical and unromantic examination of nature with which she warns us on how economy subjugates these relationships.

Vida Guzmić is a visual artist working in video, sound and text. She completed her MA in New Media at the Academy of Fine Arts in Zagreb with Summa Cum Laude in 2012 and completed Women’s Studies at the Center for Women’s Studies as well as the Curatorial Platform programme in 2013. At the moment she is attending WHW akademija International art study program organized by What, How & for Whom/WHW in Zagreb. Her work has been exhibited in Croatia and Europe and she has held residencies at V2_Summersessions Test Lab, V2_ Institute for unstable media in Rotterdam and KulturKontakt Austria. Her current work explores the relations between objects and subjects, gendered geography and representation through screen technologies. She works both as a solo artist and in numerous collaborations and engaged practices. Since 2012 she has been a member of the multidisciplinary art collective Space is Tactics and is part of the artist-run organisation Studio Pangolin. She organises numerous audio/video workshops for young women, Roma and non Roma school children through Studio Pangolin and is part of the recently formed collective Soundwords (with Nicole Hewitt and Ivan Slipčević). Guzmić has been a visiting tutor at the Department of New Media, at the Academy of Fine Arts since 2016.

Vincent Stroep is a producer at the artist-run production platform Escautville, founded by the artists Wim Catrysse, Jos de Gruyter & Harald Thys, Ria Pacquée, Koen Theys and Frank Theys. Escautville takes a hands-on approach to supporting artists in making audiovisual productions, in finding funding, by creating a framework and by dealing with publicity and presentation. Alongside his work at Escautville, Stroep has also been working as a film programmer for amongst others the Kunstverein Munich, the Courtisane Film Festival in Ghent and Otarkino, an ongoing series of film dinners.

Vladislava Đorđević (b. 1974.) is an actress, voice artist and puppeteer from Belgrade, Serbia. She is a member of the Association of Drama Artists of Serbia since 2003, and of Little Theather Duško Radović since 2011.
Đorđević completed her elementary music education in piano and graduated from the 12th Belgrade Gymnasium, specializing in drama and puppetry. In 1999, Vladislava graduated in acting on the drama faculty Academy of Arts under the mentorship of Professor Predrag Ejdus. Her graduation play, Little Killers (Night of the Assassins by José Triana), was performed on the small stage of SKC in January 2001. She performed in numerous institutional theatres (Yugoslav Drama Theater, Atelje 212, National Theater, Belgrade Drama Theater, Bitef Theater) and also in numerous independent performances (Center for Cultural Decontamination, festival Europalia Belgium..)

In 2000, she recorded the educational series Hat Without a Bottom for RTS with Raša Popov and Ljubivoje Ršumović. Collaborating with bassist Vojin Draškoci, she participated in several jazz workshops and performed with the Youth Jazz Orchestra across Serbia, Kosovo, and Montenegro. As part of the Music Synthesis project, she held several concerts alongside Vojin Draškoci and Anja Đorđević.

Between 1994 and 2015, Vladislava worked at Radio B92, recording various drama programs (Srbokap, Jakovljević), jingles, and advertisements. From 2002 onwards, she has been actively dubbing animated series for various television networks. At TV B92, she voiced characters in SpongeBob SquarePants (Mr. Krabs, Pearl, Sandy, Mrs. Puff, and other female episodic characters), Ren and Stimpy (Stimpy and female episodic characters), and Rugrats (all female characters).
She was a member of the Torpedo troupe, led by Anja Suša and Darjan Mihajlović, performing in productions such as Ethno-Circus and Animal Farm, which were staged in Belgrade as well as in Slovenia, Bosnia, Romania, Bulgaria, Hungary, and Switzerland.
Vladislava was the vocalist for the band Vrooom, releasing two CDs. Since 2003, she has participated in the TV series Mile Against Transition, directed by Raša Andrić and produced by TV B92. In 2019, she appeared in the sequel, Uncle Against Transition, also directed by Andrić. That year, she also acted in Hide and Seek, directed by Miša Radivojević, and recorded Andersen’s fairy tales for the YouTube channel of the Duško Radović Little Theatre, directed by Aleksandar Nikolić. In 2023 she performs with the play Hromopolitika at the Europalia festival in Belgium.

Theather productions (highlights):
About Germany, Center for Cultural Decontamination –czkd
The Bordello of Warriors, - czkd
The bitter tears of Petra von Kant, Belgrade Drama theater
Country, National Theater
Music lovers, Mata Milošević FDU
Red, Bitef theater (participated in the bitef festival)
Kiki and Bozo, Duško Radović theater
Pornography 1, 2, … 4, - czkd
Tesla: total reflection, Yugoslav Drama theater (participated in the bitef festival)
Atlas Cantata, Atelier 212
Ibsen’s An enemy of the people as Brecht’s didactic play, czkd (participated in the bitef festival)
Sex, Art, Communism, Bitef theater

Awards:
Little Marulić, Split 2010: Best Actress for the play You’re Lying, Melita.
Annual Awards of the Duško Radović Little Theatre: Best Actress for Teen Club (2009) and Half-and-Half (2011).
Warner Bros. Award for Best Voice Dubbing in the animated series SpongeBob SquarePants (2006).
24th International Puppet Festival in Subotica: Best Actress for Aska and the Wolf (2017).
20th Golden Spark International Puppet Festival: Best Actress for Aska and the Wolf (2018).
Annual Award of the Duško Radović Little Theatre for Acting and Animation in The Miraculous Tinderbox (2019).

Movies:
Narcissus and Echo (dir. Saša Radojević)
Munje 2 (dir. Raša Andrić)

TV Series:
Penalty Zone (RTS)
Hat Without a Bottom (RTS)
Mile Against Transition (TV B92)
Uncle Against Transition (TV B92)
Mom and Dad Are Playing War (TV Prva)
Hide and Seek (RTS)

Radio Drama:
Jakovljević (radio B92)
Srbokap (radio B92)
It Rains Differently by Dušica Dražić
And numerous radio dramas on Radio Belgrade drama program

Animated Series (Dubbing Highlights):
SpongeBob SquarePants (Mr. Krabs, Sandy, Pearl, Mrs. Puff, Karen, and others)
Ren and Stimpy
Dora the Explorer
Stuart Little (Stuart Little and female characters)
Harold and the Purple Crayon (narrator)
Noddy (Tessie Bear, Dina the Doll, Mr. Plod)
Hey Arnold!
The Penguins of Madagascar

In 2018, together with Dušica Dražić, Wim Janssen founded OUT OF SIGHT, a venue for contemporary art in Antwerp dedicated to audiovisual, experimental, and time-based practices.

Wim's artistic practice researches technologies and functions of audiovisual media, producing media installations, videos, and films. Often, his works can be seen as translations of one medium into another. His work has been showcased at festivals such as KIKK in Namur, Ars Electronica in Linz, IFFR in Rotterdam, and at institutions like the Museum of Contemporary Art Belgrade and MUHKA in Antwerp. In addition to his own artistic practice, he has been producing audiovisual creations for David Claerbout and others since 2006. Since 2017, he has been a lecturer at the Maastricht Theater Academy.

Željko Maksimović (b. 1985) is an actor, translator, and TV presenter from Belgrade, Serbia. He has been a member of the Eho Animato art collective since its establishment in 2011, and a member of the Association of Drama Artists of Serbia since 2016. Besides performing in numerous institutional theatres, he has also worked independently both in Belgrade (Borderless Lines – awarded Best Actor at the 2008 FIST festival in Belgrade, Fragments of Disquiet, Borderline Beauty, Best Intentions) and Prague, Czech Republic, with the award-winning directorial duo SKUTR (The Tempest, Walls and Handbags, A Midsummer Night's Dream). He has appeared in several TV shows in Serbia and hosted Cultural Centre, a central Radio-television of Serbia’s weekly cultural program. He has also translated essays on theatre theory by Janelle Reinelt and Milija Gluhović, and plays by Tanja Šljivar (in collaboration with an American artist Cory Tamler), Dino Pešut, and Filip Grujić, published in the US by Asymptote Journal, The Mercurian, and The Offing. Željko has also collaborated with renowned visual artists Ivana Ivković, Selma Selman, and Dušica Dražić. He authored a performance piece For Seduction that was part of the Articulation III group exhibition in the Contemporary Art Gallery Subotica. He is a regular voice of Radio Belgrade, and works frequently as a voice artist in various artistic and commercial projects.

Zoe Jo Rae (she/they) is an arborist and designer–maker who currently lives and works in Oslo, Norway. They create objects that tell stories, sparking dialogue and action around cultural and environmental challenges. Working with city trees – both as living organisms and as material resources – creates unique interactions with the concept of the forest in the urban environment.

Zoran Todorović lives and works in Belgrade. He is an associate professor at the Faculty of Fine Arts of the University of Arts in Belgrade, where he teaches transmedia research at the Department of New Media, which he helped establish. His work has been featured in solo and group exhibitions in major art institutions and at festivals of new media at home and abroad, among them Artspace Sydney; Ars Electronica, Linz; ZKM Karlsruhe; the National Review of Live Art (NRLA), Glasgow; Lux Centre, London; Transmediale, Berlin; Art in General, New York, the Museum of Contemporary Art Vojvodina; the Museum of Contemporary Art Belgrade; the Museum of Contemporary Art Zagreb. He represented Serbia at the 53rd Venice Biennale.

Zorka Wollny creates acoustic compositions for institutions, factories and empty buildings. Her works have been presented worldwide, including at Chicago Architecture Biennial; Biennale in Porto Allegre; De Appel, Amsterdam; Heroines of Sound Festival, Berlin; International Studio and Curatorial Program, New York,… She works as an associate professor at Stettin Art Academy.