After studying at the Academy of Arts and Crafts in Geneva, Caroline Bachmann went on to live and work in Barcelona and Rome before returning to Switzerland in 2003, where she is currently based. Since 2007, she is a Professor and leads the painting and drawing department at the University of Art and Design (HEAD) in Geneva. Her and Swiss artist Stefan Banz collaborated between 2004 and 2014, a period during which they founded KMD – Kunsthalle Marcel Duchamp | the Forestay Museum of Art, an exhibition and research space that they have run together since 2009. Her work has been featured in several exhibitions at key galleries and museums, including the Kunsthaus Glarus and the Francis M. Naumann Fine Art. Bachmann lives and works between Cully and Berlin.

Julian Charrière (*1987, Morges, CH) is a French-Swiss artist living and working in Berlin. Charrière explores ideas of nature and its transformation over deep geological as well as human historical time. Addressing pressing matters of ecological concern, his work frequently stems from fieldwork in remote locations with acute geophysical identities, such as volcanoes, ice fields, oil palm plantations, and undersea and radioactive sites. An ongoing reflection upon the mythos and politics of exploration in a globalized age is central to his practice. Charrière frequently collaborates with composers, scientists, engineers, art historians, and philosophers. A former student of Olafur Eliasson and a participant in the Institute for Spatial Experiments, Charrière graduated from the Berlin University of the Arts in 2013. His artwork has been the subject of solo exhibitions at the Dallas Museum of Art, Dallas (2021), MAMbo, Bologna (2019), Berlinische Galerie, Berlin (2018), Parasol Unit Foundation, London (2015), Musée des Beaux-Arts, Lausanne (2014), among others. His work has been featured in the Taipei Biennial (2018), 57th Biennale di Venezia (2017), the Antarctic Biennale (2017) and the 12th Biennale de Lyon (2013). Charrière is one of the four nominees for the Prix Marcel Duchamp 2021 with an exhibition at the Centre Pompidou in Paris.

Eli Cortiñas is a video artist of Cuban descent, born in Las Palmas de Gran Canaria in 1979. She was a guest professor at the Art Academy Kassel and the Art Academy Mainz and is currently sharing a professorship for Spatial Concepts with Prof. Candice Breitz at the University of Art Braunschweig (HBK).Cortiñas has been awarded numerous grants and residencies, including Fundación Botín Grant, Kunstfonds,Villa Massimo, Berlin Senate Film/ Video Grant, Villa Sträuli, Goethe Institute, Kölnischer Kunstverein, Rupert and Karl-Schmidt-Rottluff among others. Her work has been presented in solo and group exhibitions at museums such as Museum Ludwig, Kunsthalle Budapest, CAC Vilnius, SCHIRN Kunsthalle, SAVVY Contemporary, Museum Marta Herford, Kunstraum Innsbruck, Centro Atlántico de Arte Moderno, Centre Pompidou, Museum of Modern Art Moscow, Kunstmuseum Bonn and MUSAC et al., as well as in international Biennials and festivals such as Riga Biennale, Moscow International Biennale for Young Art, Mardin Biennale, International Short Film Festival Oberhausen, International Curtas Vila Do Conde and Nashville Film Festival. She lives and works in Berlin.

Valérie Favre (*1959, CH) became one of France’s most important painters and achieved international recognition after her initial theatre and film career in Paris. In 1998 she moved to Berlin, where she has been a professor at the University of the Arts since 2006. Her painting is conceptual and at the same time can be experienced sensually. Her work is characterized by thematic foci from art history, literature, philosophy, theatre and film. Valérie Favre’s approach to painting moves between figuration and abstraction and explores the possibilities of today’s painting in awareness of its art-historical development. In her paintings, Favre examines themes such as the role of the artist in society or the traditional assignment of gender roles in ever new compositions. She always works simultaneously on different groups of works and in different media. Selected solo exhibitions include: Galerie Pankow, Berlin (2020), Neue Galerie, Gladbeck (2018), Musée d’Art et d’Histoire, Neuchâtel (2017), Musée Franz Gerstch, Musée d’Art Moderne et Contemporain, Strasbourg (2015), Neuer Berliner Kunstverein (2013), Kunstmuseum Luzern (2010), Musée Carré d’Art Nîmes (2010). In 2012, Valérie Favre was nominated for the Prix Marcel Duchamp.

Andreas Greiner (*1979, Aachen, DE) lives and works in Berlin. After studying medicine, anatomy and sculpture he focuses on time-based and sculptural artworks. His creative aim is to push the boundaries of classical parameters in sculpture. The content of his work focuses on the anthropogenic influence on nature’s evolution and form. Similar to setups for scientific experiments, his works examine the human impact on the biological and atmospheric processes of our planet. Lately Greiner has exhibited his work at the Mönchehaus Museum Goslar as the 34th recipient of the Kaiserring emerging artist award and will participate in the Yokohama Triennale 2020. He is part of the artist collectives A/A and Das Numen.

Takafumi Tsukamoto, born in 1985 in Chiba, Japan, is an architect based in Berlin. His practice investigates the differences and similarities between forms, language and media, with a special interest in the boundaries between them and the interspaces created. His focus is particularly centered on design and art, architecture and fashion. He expresses the notion that architecture lies between the human and natural worlds; like a picture frame that complements the painting on the wall, he constantly looks for the “in-between”.

David Horvitz was born in Los Angeles, where he currently lives and works. He studied at the University of California and at the Waseda University in Tokyo. He obtained a MFA from Milton Avery Graduate School of the Arts, Bard College, in 2010. Witty and poetic, his work meddles with systems of language, time and networks. Eschewing categorization, his expansive, nomadic body of work traverses photographs, artist books, performances, the Internet, mail art, sound, rubber stamps, gastronomy, and natural environments. His work examines questions of distance between places, people and time in order to test the possibilities of appropriating, undermining or even erasing these distances. Using image, text and objects, his works circulate and operate independently, penetrating ever more effectively the intimate sphere. When encountering his works—in the postal system, libraries, or airport lost-and-found services—our attention to the infinitesimal, inherent loopholes and alternative logics, and the imaginary comes to the fore. [...]. Horvitz makes fictions that insert themselves surreptitiously into the real. His work has been exhibited in venues such as the High Line, MoMA, and the New Museum, in New York; SF MOMA, San Francisco; and Palais de Tokyo, Paris.

In their joint work Bianca Kennedy (*1989) & The Swan Collective (founded in 2007) deal with the future of evolution and its impact on plants, animals and humans. They studied at the Academy of Fine Arts in Munich and the Athens School of Fine Art and both received Studienstiftung des Deutschen Volkes. Their works garnered numerous scholarships and awards and have been exhibited internationally, including presentations at the CCBB Rio de Janeiro, the Museum of Fine Arts in Leipzig, the LOOP Festival Barcelona, the Goethe Institute, Toronto and Sundance Film Festival, among others. They live and work in Berlin.

Fabian Knecht (*1980, Magdeburg, DE) studied at the Universität der Künste Berlin and at the California Institute of the Arts. In 2014 he completed his master’s degree with Olafur Eliasson, at whose Institut für Raumexperimente he studied. In his works he plays with art historical references and with the ever-present notion of the dichotomy between nature and culture. He integrates architectural elements in the landscape and intervenes directly in the field to transform perception through performances and photographs. Whether by simulating a queue at the entrance of the art space Bärenzwinger, or covering up the entire landscape with an architectonic white cube, his interventions question our ways of looking at our surroundings and behavior in supposed natural and cultural areas. His work has been shown in national and international institutions and exhibitions, among them the MSU Museum for Contemporary Art (Zagreb), the Moscow International Biennale for Young Art, the Neue Nationalgalerie (Berlin), Hamburger Bahnhof (Berlin), the Imperial War Museum (London), and the Staatliche Kunsthalle Baden-Baden.

Antje Majewski’s (*1968, Marl, DE) practice comprises paintings, video works, texts and performances that deploy an approach based on anthropological and philosophical questions. Her most recent works are centered around questioning objects, territories and plants, and focus on research surrounding alternate systems of knowledge, storytelling and the potential of transformative processes with a particular interest in cultural and geobotanical migration. An integral part of Majewski’s process is her recurring collaboration with other artists, ecological groups and urbanism—focused collectives. Works by Antje Majewski have been shown in a number of international exhibitions including those at Kunsthaus Graz (2019), Gropius Bau, Berlin (2019), Hamburger Bahnhof–Museum für Gegenwart, Berlin (2018), CCA Tel Aviv (2016). Majewski studied art history, history and philosophy in Cologne, Berlin and Florence, and has been a professor of painting at Muthesius University of Fine Arts and Design in Kiel since 2011. She lives and works in Berlin and Himmelpfort (DE).

Luzie Meyer(*1990) is an artist, poet, musician, and translator based in Berlin. She graduated from Städelschule in Frankfurt in 2016. Her work has been shown in solo and group exhibitions, amongst others at Efremidis, Berlin (2020), Bel Ami, Los Angeles (2019), Sweetwater, Berlin (2019), Halle für Kunst, Lüneburg (2019), Kunstverein Braunschweig (2018), Kölnischer Kunstverein (2018), Tramway, Glasgow (2018), Le Bourgeois, London (2017), CACBM, Paris (2018) Nassauischer Kunstverein Wiesbaden (2017), Portikus, Frankfurt (2017).

Regina de Miguel (*1977, Málaga, ESP) is an audiovisual artist, independent researcher and teacher living in Berlin since 2010. Her interdisciplinary artistic practice is characterized by the exploration and development of processes aimed at the production of knowledge and hybrid objects. The critical examination of the supposed objectivity of the means of representation of science as well as the production conditions of scientific knowledge is one of the main discursive strands of her work. Starting from a methodological approach, she establishes complex relations that are also nourished by the philosophy of science, ecofeminism, speculative fiction and terror. The aim is to bring forth theoretical, existential and poetic shifts that operate out of fragility as a form of resistance. Her works have been part of international collective exhibitions at the Berlin Art Prize, Palais de Tokyo in Paris, and Haus der Kulturen der Welt in Berlin, among others. She has won the INJUVE, Iniciarte Junta de Andalucía, ABC and Purificación García prizes and has been nominated for the Berlinische Galerie Prize and the Berlin Art Prize.

Adrien Missika (*1981, Paris, FR) studied at École Cantonale d’art de Lausanne (Ecal). He was a co-founder of Galerie 1M3, Lausanne, (2006-2014), founder and art director of Belo Campo Lisbon, (2017- present). He currently lives in Berlin. The work of Adrien Missika humorously investigates the natural and the cultural. Through a variety of media, from video, photography, sculpture to installation and action, the work digs into the wide range of natural and environmental sciences, such as biology, landscape architecture and geography to name a few. Missika has had numerous solo exhibitions including Palais de Tokyo, Paris (2009), Centre d’art contemporain Genève (2009), Kunsthaus Glarus, Switzerland (2013), Centre Culturel Suisse Paris (2014) and 21er Haus (Belvedere 21), Vienna (2015). Adrien Missika was awarded the Swiss Art Award (2009), the Prize of the Foundation Ricard and the Kiefer Hablitzel Prize (2011). He also won the Georg and Josi Guggenheim Foundation Prize (2013).

Pfelder (*1965, Hamburg, DE) first studied classical archaeology, drawing and communication design in Hamburg and afterwards at the Acade-my of Fine Arts in Dresden and Art Academy Oslo. His artistic practice focuses on interventions in urban landscape and performances which are made both for the typical art-interested visitors as for the general public: passersby and inhabitants of the neighbourhood. Whether by adding elements to a preexisting building or creating new situations, he highlights the notions of private and public and questions the types of philosophical discourses communities are using to reflect their common presence in a given environment. His work has been shown at Kunsthalle Arbon, Switzerland (2018), Kunstverein Tiergarten, Berlin (2017), antipodes project space, Oslo (2016) and TENTHAUS, Oslo (2013).

Simone Zaugg (*1968, Bern) and subsequently studied there at the University, the School of Design and the University of the Arts. Her artistic strategy is based on the sensitive spatial, aural and physical contextualization of the participating public in context-related stagings. She sees her multimedia installations as enactments through which the viewer can move through time and space. She creates images and develops situations in which she counterbalances experiences of the private and public. Her works open up spaces for personal histories to give room for the mental activity needed in the process of creating images. As an artist, she responds to architectural, historical and social environments. She describes people as her physical and psychological frame of reference, serving as a yardstick and seismograph for her work. Her work has been shown a.o. at DA Kunsthaus, Germany, Kunsthalle Arbon, Switzerland, TentHaus Project Space, Norway or in public spaces in Vienna.

Zheng Bo (*1974, Beijing, CN) lives and works on Lantau Island, Hong Kong. Committed to multispecies vibrancy, he investigates the past and imagines the future from the perspectives of marginalized communities and marginalized plants. He creates weedy gardens, living slogans, and eco-queer films to cultivate ecological wisdom beyond the Anthropo-extinction-event. His works are in the collection of Power Station of Art in Shanghai, Hong Kong Museum of Art, Singapore Art Museum, and Hammer Museum in Los Angeles. His projects are included in Liverpool Biennial 2021, Yokohama Triennale 2020, Manifesta 12, the 11th Taipei Biennial, and the 11th Shanghai Biennial. His practice has received support from numerous art spaces in Asia and Europe, most recently ICA Shanghai, @KCUA in Kyoto, Asia Art Archive in Hong Kong, Villa Vassilieff in Paris, and TheCube Project Space in Taipei. In 2020, as artist-in-residence at the Gropius Bau in Berlin, he engaged in conversations with plant scientists and ecologists to speculate how plants practice politics.