Michela de Mattei was born in 1984 in Rome. She studied Philosophy at the University of Rome ‘La Sapienza’ and she was assistant to artist, Giuseppe Gallo. Through her practice, that spans from drawings, sculpture, installation and video, Michela explores the relation between humans and nature by creating fictional circumstances and observing their visual consequences. Recent solo exhibitions include: Estée Lauder series, Italian Cultural Institute,
London (2018), Allevamento di Tiranni, Una Vetrina, Rome (2017), Vogliatemi perdonare quel poco di disturbo che reco, Ex Elettrofonica, Rome (2014); Innesto #6, Orientamento | Michela de Mattei, Sala Santa Rita, Rome (2013). Recent group exhibitions include: The H.P Collection, Operativa Arte Contemporanea (2018), Rome; Machine Gun Etiquette, Belmacz, London; Straperetana (2018), il tempo svogliato (Idle Time), Pereto; Collettiva 5 + 5, Galerie Italienne, Paris (2018), Rosina#1 – Spectrum, Limone Space, London; La Vita Della Mente, Istituto Svizzero di Roma; Bodikon, Belmacz, London (2017); There is no place like home 4°, Riverside dock, Rome; InterKontinental, Belmacz, London; La Pelle, Project by FONDACO, Officina, Brussels; Rétrospective I: Fail Compilation, Détail, Paris (2016); Feets, Don’t Fail Me Now, Belmacz, London (2015); Incidents of phenomena, Spazio Cerere, Rome; Appartate, (2 person show- Michela de Mattei and Aldo Grazzi), Smart Polo per l’arte contemporanea, Rome, Art is Real – Una collezione impermanente, (curated by Silvia Litardi e Guendalina Salini), Rome (2014).

Charlotte Ginsborg is an independent filmmaker whose films interweave documentary and fiction to explore people’s psychological relationship to their work and social environments. Working with composers, choreographers and spoken-word poets, she collaborates with documentary subjects to develop performances that are woven into the fabric of the films. Her work has been screened and exhibited in galleries and festivals nationally and internationally, including the Venice Biennale, the Serpentine Gallery, the Pompidou Centre, and the Walker Arts Centre, USA. Her film, Over The Bones, was in competition in the Tiger Shorts at Rotterdam Film Festival, and her lastest film, 22:22, commissioned by Film London, premiered at the London Film Festival 2017. Her films have been commissioned by Channel 4, the UNHRC, Arts Council England and Poetry in the City. Recently she has been working with the Trojan Women Project following the experinces of Syrian refugees to the UK, and also for Breakthrough Media filming with families whose children have turned to extremism.

Catarina Botelho is a Visual artist and director,  she lives between Barcelona and Lisbon.  Since 2005 she has participated in several exhibitions, residences and prizes particurarlly  in Portugal, Spain and Brazil. Botelho also dedicates herself to education through art, and activism regarding the right to the city.  She is interested in the relations between spaces, places and architectures, their uses and inhabitations that do not comply with the logics of productivity: Maybe I can say that I am searching  for, in my artistic practice and in my life,  temporalities and practices that can create room  for thought and observation. Where there is a space for the rhythms of the  bodies or the cycle of day and the night.
She recently finished the Independent Studies Program at MACBA: Museu d’Art Contemporani de Barcelona. Field Notes (2017), a generational gaze on the period of austerity policies in Portugal,  is her first film.

Ruth Direktor is the Curator of Contemporary art in Tel Aviv Museum of Art.
She curated many exhibitions; most of them group exhibitions, aiming to focus on contemporary phenomenon and in the last few years – concentrating onvideo and performance.
She started her career as an art critic, writing regularly (from 1984 till 2008) in the most prominent newspapers and weekly magazines in Israel. Her articles and reviews were published in many publications.
Since the early 1990s she worked as an independent curator; in 2011-2014 she was the Chief Curator of Haifa Museum of Art. Throughout the years she has been teaching in art academies, focusing on different issues of contemporary art, both Israeli and International.

In a life made of concrete and blinking advertisement, Anna-Lena Tsutsui identifies the traces of a natural force, in which human action has degenerated. Through her videos, photographs and sculptures she observes the residues of this force in a society that is
ready to transform everything into products. In the form of videos or photographs, the images proposed by the artist are evidence of what we have made of this primordial energy, of its variations and its forms.

She was born 1985 in Mainz, Germany, where she graduated in 2013 as a „Meisterschülerin”of Prof. Dieter Kiessling. In the same year she also graduated of the Ecole Nationale Superieure de Beaux Arts de Paris. After her studies she joined the residency program of SeMA Nanjii in Seoul. AT participated in group shows as VideoZone (Kunsthalle Mainz), Videomedeja, (Museum of Contemporary Art of Vojvodina), 4th Festival for Young Art (Beijing), Circular Hands, Centripetal Eyes (Seoul Museum of Art), GREEN CITY (Ludwiggalerie Schloss Oberhausen) and personal shows as Ménagère, (Kunstverein Schwerin) or Sabine, es
kommt noch schlimmer. (Peng, Mainz).

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