Taylor Le Melle has grown to find biography less cringe through building a practice of describing their activities with present participle phrases (“Taylor is writing”) and shedding the practice of categorising states of being (“Taylor is a writer”). Taylor has trained in art history, architectural theory and developmental psychology. From 2017 to 2022 they ran a publishing collective, PSS, through which they have edited and produced several collections of science fantasy, theory and one poetry chapbook with contemporary artists. This year, they are working their own book-length project for which they are making a series of 'draft objects' which both facilitate and result from the production of text.

Clementine Edwards is a Rotterdam-based artist working between sculpture and writing. They're the artist and editor of The Material Kinship Reader, co-edited with Kris Dittel, which thinks material beyond extraction and kinship beyond the nuclear family. Clementine’s practice engages with craft, climate crisis, gender and how lived experience, including trauma, narrates meaning-making. It asks, How to honour and remember the worlds that we are immersed in, and the contexts that shape us, nourish us and resist us?

Octave Rimbert-Rivière cherishes matter. He worships it and coaxes it, flattering it as one caresses the flank of an animal that is gradually domesticated. Tenderly, he cultivates a fleshly relationship with it. And his growing interest in digital potential does not in any way virtualize his practice, which remains fiercely anchored in the tangible. It remains touching. It marries pottery and new technologies. For him, any creation is the product of collages. His clay is drawn from the depths of the dark web, and is smeared with fun, by hand. If the sculptor regularly visits the digital world — and we cannot insist enough on the tactile dimension of the term ‘digital’ — it is to experiment with the modelling that such a tool allows, as would a potter’s rib. The computer is a vector of distortion, a machine to hack an archetypal form. The artist transforms the glitch into porcelain, pouring electronic flux and liquid clay into molds. In turn, his mugs and teapots both contain and spill. The glazes ooze, crackle, split. They bubble too. There is no limit to the amount of crust they can produce, because in ceramics, it’s always firing. From this angry magma, it is a question of creating functional objects, which are truly useful. This unblocks them from the exhibition space, and after having exported them a first time from the screen, frees them even more to simply irrigate life, in a race towards the concrete. To escape plinths, to crack the codes, to break the boxes. The function liberates the work.

Artist and Designer Wael el Allouche (TN/NL) graduated from the design department of the Gerrit Rietveld Academy. He is interested in the way abstractions, such as Data and Algorithms, shape reality and vice versa. By digitizing phenomena and objects from the world around him he tries to understand them, before returning them to reality as reconstructions.

Elisabeth Klement is a graphic designer who lives and works in Amsterdam, The Netherlands. She has graduated from the Gerrit Rietveld Academie graphic design department and Critical Studies department at Sandberg Instituut. Together with Laura Pappa she runs Asterisk Summer School, an annual summer program based in Tallinn that deals with exploring the boarders of graphic design practices. Elisabeth has also run the art bookshop San Serriffe in Amsterdam with Pieter Verbeke since 2011. In 2015 she launched the publication series Apparition of the Ampersand, which aims to define the extended field of the practice of graphic design through interviews and writings by practitioners working in the fringes of the discipline.

Elia Kalogianni (1995) works as a filmmaker and visual artist. Her work combines films, video installations and video essays. In her practice, she gives value to what usually remains invisible and, adopting a female gaze approach, she aims to raise questions about loneliness, memories, contact, identity, surveillance and the distinction between reality and fantasy.

Rachel O'Reilly is an artist, poet, critic, independent curator and researcher whose work explores relationships between art and situated cultural practice, media and psychoanalysis, aesthetic philosophy and political economy. She was formerly a curator of film, video and new media at the Gallery of Modern Art, Brisbane, including the Fifth Asia Pacific Triennial of Contemporary Art and a researcher in residence at the Jan van Eyck Academie.

María Mazzanti is an architect, editor and educator focused on critical spatial practices, experimental publishing and the environmental crisis. She is an editor in Failed Architecture and the managing editor of VOLUME magazine. She teaches at the interior architecture departments in the Bachelor program of the Gerrit Rietveld Academy and the Master’s program at the Sandberg Instituut. She was a research fellow in the same institutions between 2021-2022.

Jason Hendrik Hansma’s (b.1988) work explores the in-between, the liminal, and the nearly articulate. Drawing from a wide range of references and materials, Hansma’s work deals with standards, architectural, cultural, and physical, along with how works are made outside of standardized norms. For Hansma, a photograph might be created over months, an entire exhibition might happen in ‘transitional spaces’ such as hallways, doorways, or window sills. A hand-stitched curtain slows down an exhibition’s motion, providing a soft cut moved by a slight breeze from outside air or a film focuses on the moment a wave crashes into architecture. Amateur videos of embers recorded from bushfires are cut to chopped and screwed, and textiles from the artist’s ancestors are refolded and formed into new painterly landscapes. In the work, language (and the loss of language) plays a key role in moving through the politics of aesthetics to reconsider the means we use to locate ourselves through and with each other.