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Ana Castillo is a Franco-Spanish artist based in Athens, whose current research revolves around textile objects. Her discoveries follow the spaces she inhabits, gradually intertwining the encounters and experiences she goes through.

The paint Ana Castillo applies to them then gives them a new skin, reimagining these new portraits to invite us to witness her perspective. After exhibitions in Germany, Spain, and Athens, a collaborative project during a fashion week in Paris, and illustrations for the press, she is actively seeking new and diverse project

Anaïs Goupy is a French artist and researcher with a transdisciplinary practice focused
on the human-machine relationship. Informed by social network trends disseminated on
the web, her work investigates the emancipation and aesthetics of feminine representa-
tion through history, pop and internet culture. Her installations blend objects and techno-
logies from the digital and analogue worlds. They feature holographic figures, artificial
intelligence, and Trompe l‘oeil paintings created in collaboration with technology, lea-
ding to questions about their origin and authenticity.

Goupy received a master‘s diploma in video art and painting from the National Art
School Villa Arson in Nice (2011), a post-graduation in Art and Installation from the Leip-
zig Academy of Fine Arts (2022), and scholarships from the Cultural Foundation of the
Free State of Saxony, the Künstlerbund e.V and the City of Leipzig. In the second semes-
ter of 2024, she undertakes a 6-month residency at the International Studio & Curatorial
Programm (ISCP) in New York City, selected and funded by the Free State of Saxony for
her project „Feminist Revolutions in the New York Art & Pop Culture Scene“.

Caroline Mesquita (b. 1989, Brest) lives in Marseille. She won the 19th Fondation d'entreprise Ricard Prize in 2017. Selected solo exhibitions include HALLE FÜR KUNST Steiermark, Graz; Villa Médicis, Rome;  Blaffer Art Museum, Houston; PIVO, Sao Paolo; Fondazione Pomodoro, Milan; Centre d'art Passerelle, Brest; Galeria Municipal do Porto, Porto; Kunsthalle Lissabon; Lisbon; Centre Pompidou, Paris; SALTS, Birsfelden; 221a, Vancouver; Fondation d'entreprise Ricard, Paris; Kunstverein Langenhagen, Langenhagen; SpazioA, Pistoia; Centre d’art du Parc Saint Léger, Pougues-les-Eaux; Le Bains-Douches, Paris; 1m3, Lausanne; among others

Mesquita has participated in group exhibitions at venues such as MUCEM, Marseille, Museo de Arte de Zapopan, Guadalajara; Bonniers Konsthall, Stockholm; SCHIRN KUNSTHALLE FRANKFURT; Palais de Tokyo, Paris; Folkwang Museum, Essen; La Loge, Brussels; Monnaie de Paris, Paris, FR; Astrup Fearnley Museet, Oslo; FRAC Ile-de-France; Flax Foundation, Los Angeles; Arsenal Contemporary New York, USA; among others.  

COURT TEXTE

"For Caroline Mesquita, a sculpture is never just a sculpture. The objects that she creates, which are at once musical instruments, parts of sets and leading characters in filmed performances, merrily refuse to be confined to a definite identity. Through her films and her installations, the young sculptress creates connections between different worlds.

Caroline Mesquita has been pursuing her quest for a multi-facetted and changing identity. She has been questioning the boundaries of bodies  and materials she uses, as well as the limits of the sculptural medium itself. The ceaseless deconstruction and re-assemblage of her characters’ identities acquire substance through the fragmentation of their robotic and uncoordinated bodies.

Female dancers, musicians, mechanics, pilots, cooks... The characters of Mesquita’s sculpted fables regularly change their lives and statuses, in an ongoing attempt to escape from their fate and to shatter every possible type of social, geographical and gender determinism. For the artist, film is the perfect space for the subversion of hierarchies: here, sculptures are at the same time manipulated and manipulating. They gain the upper hand over their creator and appropriate her gestures, by caressing her, combing her hair, or cutting her up." 

– Text by Elena Cardin

Born in France in 1997
Lives and works in Paris

The artistic practice of Emma Passera (b. 1997, France; lives and works in Paris) evolves
between installation, video and sculptural work, based on metallurgy and orphaned objects
found near her studio. Through a very poor economy, each of the elements assembled by
Emma Passera finds its place in an aesthetic of chaos and the in-between. Her works are made
up of fragile arrangements transmuted into perennial material that invokes repair through
assembly, where violence regularly rubs shoulders with gentleness. Emma Passera graduated
with honors from the École Nationale Supérieure des Beaux-Arts de Paris and the École
Nationale Supérieure des Arts Décoratifs de Paris. She is the winner of the Prix du Cabinet
Weil 2021.

Her recent exhibitions include: Ten days of perfect ends (solo), curated by Thomas Villemin,
Galerie Derouillon, Paris (2024); ‘‘Unfold Anemia’’ (solo), Galerie Pal Project, Paris (2023); ‘‘Is
Something Missing?’’, FRAC Corsica, Corte (2023); ‘‘MOTHERS’’, Badr El Jundi, Madrid (2023);
‘‘She Fixed Her Heels With Glue’’ (solo), DNSAP, Beaux-Arts de Paris (2022); ‘‘La descente’’, Confort
Moderne, Poitiers (2022); ‘‘Bijoux!’’, Fitzpatrick Gallery, Paris (2021); ‘‘Your friends and Neighbors’’,
collaboration with Gaëlle Choisne, Galerie High Art Paris (2020); ‘‘Defixion’’, collaboration with
Gaëlle Choisne, Musée d’archéologie de Latarra, Lattes (2020); ‘‘En cas d’urgence briser la Glace’’,
Cité Internationale des Arts, Paris (2019).

Tohé Commaret is a Franco-Chilean filmmaker whose work oscillates between experimental cinema and documentary. Trained at the Beaux-Arts de Paris and later at Le Fresnoy, she sets all of her films in the city of Vitry-sur-Seine, where she was born—a place imbued with both personal and collective history: a site of exile for her Chilean family fleeing the dictatorship, and an urban space saturated with memory, ghosts, and everyday poetry.

Her practice explores porous, often hybrid narrative forms, blending fiction and documentary, with particular attention to bodies, voices, and invisible presences. Through her work, she questions childhood, heritage, dynamics of disappearance, as well as transmission, alienation, and intimate forms of dissidence.

In parallel with her artistic practice, Tohé is involved in the sex worker community (TDS), an experience that also permeates her work, feeding a political and sensitive reflection on female bodies, the gaze, and power relations.

 Her films have been presented at the Berlinale, Locarno, Cannes and awarded at several international festivals. She has also exhibited at the Palais de Tokyo, the Centre Pompidou, and the Lyon Contemporary Art Biennale.

Lorin Brockhaus, (*1996 in Freiburg i.B.), studied painting at the HGB Leipzig in the class of Michael Riedel and at the Academy of Fine Arts in Vienna in the class of Daniel Richter. Lorin Brockhaus creates modular spatial and sculptural objects by layering or stringing together individual images. His most recent group of works, „Starts, Routes, Loopings“, consists of a growing stock of photographic elements printed on acrylic glass, which can be variably connected and arranged in space using plastic holders.

Semi-transparent strips show blurred fragments of landscapes, terrain and weather. Like scale models, they represent views, environments and paths of possible realities and loose timelines. A series of jumps in perspective through locations and points in time that converge, drift apart or run parallel to each other. The view of the observer isn‘t held up by the content of single images. It accelerates as it moves along the routes. Everything merges into a rushed gaze that pauses only in the overview of fixed compositions. Still, an offer of alternative forms and contents hovers above every arrangement. It’s like this, but it could have been different.

Gustav Sonntag was born 1994 in Berlin, today he lives and works in Leipzig and Dresden. Sonntag grew in Berlin, which is with its clubbing culture and urban life until today source and subject in the style and depictions of his art. From 2015 to 2022 he studied at the art academy Hochschule für Grafik und Buchkunst (HGB) in Leipzig under Christoph Ruckhäberle where he graduated 2022 with a diploma. With his work Sonntag has already received recognition through exhibitions in Dresden, Berlin, Stuttgart and other cities, a multitude of media coverage (Süddeutsche Zeitung, Tagesspiegel, MDR, and others), a recent nomination for the STRABAG Art Award 2024 and institutional group shows most recently at Stadtgalerie Kiel (Dissonance, 2024) and currently in Potsdam (‚Gegen den Strich’ - Gen Z in der Kunst, 2024). 

Gustav Sonntag‘s large-format paintings deal with profound and socially relevant themes that explore human existence in the context of urban life. These themes include obsession, addiction, violence, resignation and homelessness and are depicted in vividly expressive figurative paintings. At times the artist takes a detailed and emotional approach to his depictions, making his work both intense and disruptive. This pictorial intensity is achieved with the application of an expressive color palette, fast brushwork and amplified even fur- ther by the use of bold perspectives. This way Gustav’s figurative imagery evokes a sense of forceful confrontation with his subjects but also suggests the authenticity of an in-situ created image. However, derived from the very charged situations and places themselves, such as off corners in late night clubs or sidewalks inhabited by homeless people, the visual narration makes use of surrealist features with bending spaces and shapes, flaring or muted color schemes, pictorial spaces that unravel towards the edges of the canvas, and imprecision in the rendering of items held by the pictures’ protagonists or even their very faces.

Rachel von Morgenstern works on translucent polyester canvases, which are themselves stretched on heavy stretcher frames. With preferably vivid colors and hues of acrylic paint, von Morgenstern develops intriguing arrangements of color and spatiality, transparency and opacity in gentle and dynamic gestures. Her compositions oftentimes appear light and elegant yet determined in the way elements such as gestural brushstrokes or abstract undefined shapes are placed and color nuances chosen. Her painterly pictorial settings brilliantly evoke the suspenseful ambiguity of painting between its very material surface and illusion of pictorial space.

Rachel von Morgenstern lives and works in Frankfurt am Main. After finishing her diploma at the HFG Offenbach in 2013, she continued her studies with a masterstudents degree at the AdbK Karlsruhe. Afterwards she was sponsored with a residency scholarship at the Opelvillen Rüsselsheim. Her works have been shown in solo shows in Frankfurt am Main especially at the gallery Filiale, and in art associations throughout Germany, also she was featured in group shows in Berlin, Munich, Vienna, and Los Angeles.

Sebastian Hosu (born 1988 in Satu Mare, Romania) grew up in Romania and studied painting and free art in Cluj-Napoca at the University of Fine Arts and Design and at the Accademia Albertina di Belle Arti in Turin (2008-2010). A master’s degree in painting at the Académie Royale des Beaux-arts in Liege, BE, was followed by master’s studies at the Hochschule für Grafik und Buchkunst in Leipzig. Hosu’s works have already received much attention in Germany and abroad, including solo exhibitions at the Museum der bildenden Künste in Leipzig in 2018 and at the Kunstverein Freunde aktueller Kunst in Zwickau in 2019, as well as solo exhibitions in galleries in Leipzig, Amsterdam, Bucharest and Hong Kong, among others. With paintings and drawings he is already represented in significant private and public collections. His work is presented and collected internationally.

The figurative sceneries in Sebastian Hosu’s paintings appear with vigorous brushstrokes, in gestural allusions to form and bold color compositions, resulting in depictions where the border between representational figuration and painterly abstraction remains almost indistinguishable. The dynamic compositions throw the viewer right into the heart of scenes of sporty action and leisure time activity, in which moving bodies seem to blend in with the surrounding landscapes. In depicting these vivid yet very ephemeral moments, Hosu’s paintings oscillate between painterly contouring and simultaneous dissolution of form. This way the ephemeral nature of the summoned scene is contrasted with the physical presence of the paint and painting itself, inviting the viewer to re-visit and reexperience a moment in time over and over again.