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Nayara Leite (b. 1989) is a Brazilian artist and writer based in Bergen, Norway. She holds an MFA from the Bergen Art Academy and an MA in Photojournalism & Documentary Photography from the London College of Communication. Nayara works across text, performance, film, photography and installation. Through autobiographical narrative, political news, archival material and letters to close friends, she produces a portrayal of the reality in which the LGBTQ+ community lives in Brazil and in Norway. She has exhibited and/or held performances at Bergen Kunsthall, Palmera, Lydgalleriet, Isotop, Bergen Kjøtt and KODE 2 in Bergen; Preus Museum in Horten; Studio 17 in Stavanger; Oslo Negativ, Kunstnerforbundet and Kunstnernes Hus in Oslo; and Momentum Biennale in Moss.‍

Kristīne Krauze-Slucka is a visual artist based in Riga, Latvia, whose conceptual practice interrogates the materiality of industrially produced objects, transforming them into catalysts for pseudo-social anthropological inquiries that challenge conventional perceptions. Her approach to photographic image-making transcends the traditional lens, venturing into the realm of meta images and afterimages. By employing experimental, camera-less techniques, she treats the photographic medium not only as a tool for visual representation but as a tactile, immersive experience that underscores the physical and material processes of creation. Balancing familiarity with abstraction, her work invites viewers to reconsider the often distorted relationships between man-made materials and the environment, ultimately engaging a sensory dialogue about our perception. Krauze-Slucka holds a Master’s degree in Fine Arts from the Visual Communication Department of the Latvian Academy of Arts. She was awarded the Grand Prix of the Nordic and Baltic Young Artist Award in 2020 and has been twice nominated for the prestigious Purvītis Prize. In 2022, she was selected as a FUTURES artist, an honor awarded by the Europe-based photography platform. She also serves as a lecturer at the International Summer School of Photography (ISSP).

Camille Poitevin (b. Montreal, Canada, 1996) is a french multidisciplinary artist based in Brussels. Installation plays a central role in her practice : drawing from lens-based media, sculpture, and sound, she creates time for introspection in a fast-paced society. In doing so, she aims to challenge social norms, unfreezing preconceived ideas in human interactions, social roles, and personal identity. Camille Poitevin earned a BA in applied arts from Concordia University in Montreal (2018) and an MA in photography from ENSAV La Cambre in Brussels (2022), where she was awarded a creation grant by the King Baudouin Foundation and the Servix Prize. Her work has since been exhibited in Belgium (Beursschouwburg, BPS22, Hangar Art Center, Ateliers Mommen, HISK Gosset Site, CAL Charleroi), the Netherlands (as part of Currents#10 program at Marres Huis voor Hedendaagse Cultuur), France (FRAC Franche-Comté), and Spain (InCadaqués Festival OFF). In 2025, she participates in the collective exhibition Art au Centre in public space in Liège in the .tiff Emerging Belgian Photography program.

My name is Claude. As an interdisciplinary artist, I mainly use the media of photography and sound. I am based in Lichtensteig in Toggenburg, Switzerland. I grew up in the 90‘s in a small village on the Swiss side of Lake Constance and was socialised in the environment of the Catholic Church. Today, after studying analogue photography at Ostkreuzschule in Berlin and living in various house and farm projects, I no longer feel that I belong there.

However, the themes in my artistic practice today are still characterised by a tightly structured childhood, youth and apprenticeship: in my work, I have been exploring the concepts of collectivity and intimacy for several years. I am always looking for liberating and solidary acts in performative moments and arts production. My image- and sound-based practice reveals my great affinity for technology, the exploration of boundaries and needs in dialogue and the creation of trusting connections and learning spaces in my collaborations.

As a child of the working class, I am concerned with my own role as an artist in society and what (political) room for manoeuvre this opens up for me. The problem of self-exploitation, especially - but not only - with a body read as female, is a recurring theme in my artistic practice.

Since 2019, the Salon Vert has been a network of artists, a laboratory for sound research and a place for interdisciplinary dialogue. The Salon Vert has found a new home in my studio in Lichtensteig in 2023. I am also co-founder of the audiovisual Glitch Festival in St.Gallen and music editor at the community radio station Stadtfilter in Winterthur.

Máté Bartha (1987) is a Budapest-based visual artist working in the intersection of photography and theory-fiction. His practice is driven by a mission to reenchant the world through world-building, impersonation and constructing personal and collective mythologies. His work proposes new narratives by blending symbolic and subjective interpretations of his usual field of observation, the metropolis, treating urban spaces as arenas for imaginative transformation. Bartha’s works often combine staged and documentary imagery, archival material, and speculative narrative forms, and have been published and exhibited widely. Bartha holds Master’s degrees in Photography (Moholy-Nagy University of Art and Design, 2011) and Documentary Filmmaking (University of Theatre and Film Arts, 2016), and is currently a doctoral student at MOME. His first photobook, Common Nature (2014), explored the ambivalence of urban space as a mirror of the unconscious. Kontakt (2018), a coming-of-age portrait of Hungarian military youth camps, was awarded the Louis Roederer Discovery Award at the Rencontres d’Arles (2019). His recent project Anima Mundi, a fictional urban encyclopedia of cosmic order, received the Main Jury Prize at Les Boutographies, Montpellier (2024). His ongoing work, The Dice Man, is a chance-based photographic pilgrimage through grief, memory, and city space.

Bo Vloors (she/her) is a visual artist, writer, photographer and filmmaker based in Brussels. Using image and text, her work revolves around human relations, within and with their surroundings, and the influential power of images. The Image stands central in her practice. Inspired by natural cycles and symbiotic arrangements, her work finds its origins in the repeated consultation of an ever-expanding archive built up over the past decade. Exploring her role as an image-maker (both in images and words), she defines her writings as The Missing Image, serving a complementary, affirmative or rhetorical purpose in relation to the actual image. Striving to balance aesthetics and content, the formats she uses may vary from publications, spatial installations, audio-visual to audio-performative. Still, The Image remains rooted in the core of her artistic practice, both as subject and material. Her work has been exhibited at Beursschouwburg (BE), Z33 (BE), Argos (BE), Art au Centre (BE), Decoratelier (BE), SB34 (BE), De Studio (BE), Het Bos (BE), OFFoff cinema (BE), CinemaTEK (BE), Bizet Bizar (BE), Radio Panik (BE), RAVI (BE), Folle Béton film festival (FR), Lateral film Festival (IT), San Sebastian film Festival (ES), Cashmere Radio (DE) and Dublin Digital Radio (IE).

I am a visual artist working primarily with photography, video, and installation. My main area of interest revolves around the idea of destruction perceived as a prerequisite for rebirth – in this regard, my practice serves as a particular form of self-therapy. My creative approach centers around catastrophic events, whether experienced in real life or staged – not merely to document, but to explore their aesthetics and the emotions they evoke. Drawing from the notion of post-photography, I attempt to extend the same approach to my audience, purposefully creating the most photogenic environment. This invites the viewer to try and explore the aesthetics and emotions evoked by my own work. The theme of the car and anything automotive-related is a constant recurrence throughout my practice, varying both in context and form. It can be an invisible companion, as seen in the series of on-the-road photos like "Post Tourism," documenting wildfire sites in Australia and California. It can also be a desirable object deliberately subjected to all kinds of abuse – set on fire, melted, or drowned – in order to test its endurance while creating the perfect catastrophic photo set, as seen in the multidisciplinary installation "Panda" or the photographs published in the photobook "Pyromaniac’s Manual." Finally, the car can be dissected, stripped, and transformed into something entirely new, like a vehicle for poetic miniatures in the "Blind Spot" series. It can even become part of a fancy dinner where the courses are prepared out of car parts and served to the guests of a luxurious retreat, mockingly bringing into the spotlight the consumption patterns of the highest social classes in the "A la carte" project, created during the Chateau de la Haute Borde art residency and subsequently exhibited at Galerie du 13 in Paris. Most recently, my interest has turned to audiovisuality, focusing on short forms of video and their potential for a more poetic style of storytelling.

Independent Ukrainian documentary photographer currently residing and working in Kyiv, Ukraine. Master degree in International Economics of the Institute of International Relations of Kyiv National University. He has pursued photography since 2008. Since 2012 member of the Ukrainian Photographic Alternative (UPHA) and since 2014 of the Ukrainian Association of Professional Photographers (UAPF). In 2014 - 2019, he was the official photographer of the President of Ukraine. Founder of “Untitled” online magazine and co-founder of Ukrainian Street Photography group. Member of PEN Ukraine since 2022. Author of the photo book “Anamnesis” (2020) and art-book “Maidan Faces” (2020). Since the beginning of full-scale Russian invasion of Ukraine concentrated mostly on documenting war crimes and impact of war on civilians.‍