Marina Faust, born 1950 in Vienna; lives and works in Vienna and Paris. Her practice originated in documentary photography before collaborating with Martin Margiela for almost 20 years. She also worked in interior photography and is an active contributor for the French art Magazine FROG. Wybrane wystawy / Selected recent exhibitions: Klassentreffen, Werke aus der Sammlung Gaby und Wilhelm Schürmann, MUMOK, Vienna; Margiela, les années Hermès, Musée des Arts Décoratifs, Paris (2018); It’s Only You, Le Consortium, Dijon, France; The Archive Box, Corso Como, Milan / Laila, Tokyo / Artcurial, Vienna (2017); Franz West ARTISTCLUB, 21er Haus, Vienna; Le Mérite 2014-2016, Treize, Paris; The People’s Cinema, Salzburger Kunstverein, Austria (2016); New Ways of Doing Nothing, Kunsthalle Wien (2014); Reflecting Fashion, MUMOK, Vienna; Talk without Words (Christopher Wool), Marina Faust - Franz West, Franz West, Man with a Ball, Gagosian Gallery London (2012).

Matthieu Haberard’s practice is interested in the liminal zone between adulthood and childhood. Despite the extraordinary craftsmanship of his sculptures – each work is done in meticulously by hand, consciously ignoring easier technological production techniques such as 3D printing – the aspect of “un-learning” is dominant in his practice: Haberard is interested in the wild imagination of children that is often lost once adulthood is entered. His sculptures and textile works are an evocation of intuition found in children, a willed abandoning of reason, consequentiality and the constraints of language.
   Haberard’s work, in all their playfulness, always harbour a darkness in them. “They unveil the resistance potential of fragmented, “real” and virtual identities because the artist has recognised the fact that we live in permanent state of war (physical, economic, political etc.). He wonders how much it contaminates our affects, how far we must go to resist it, or, conversely, in some cases, how we must remove ourselves from it in order to fight it. Matthieu Haberard makes new weapons for the youth: humble and popular shields, loaded with the power of innocence.”
   Matthieu Haberard, born 1991 in Toulouse; lives and works in Paris. Recent exhibitions include 100%, Halle de la Villette, Paris (2019); Outside Our, Fondation Emerige, Paris; The Dance of Atoms, curated by Daiga Grantina, DOC, Paris; Beaux Amis, Wendy Gallery, Paris (2018); Sur La Route Après l'Insomnie, Gianni Manhattan, Vienna; Nos Ombres Devant Nous, Fondation Ricard, Paris (2017).

Karol Radziszewski (b. 1980) lives and works in Warsaw (Poland) where he received his MFA from the Academy of Fine Arts in 2004. He works with film, photography, installations and creates interdisciplinary projects. His archive-based methodology, crosses multiple cultural, historical, religious, social and gender references. Since 2005 he is publisher and editor-in-chief of DIK Fagazine. Founder of the Queer Archives Institute. His work has been presented in institutions such as the National Museum, Museum of Modern Art, Zacheta National Gallery of Art, Warsaw; Whitechapel Gallery, London; MoMA Warsaw, Kunsthalle Wien, Vienna; New Museum, New York; VideoBrasil, Sao Paulo; Cobra Museum, Amsterdam; Wroclaw Contemporary Museum, Museum of Contemporary Art in Krakow and Muzeum Sztuki in Lodz. He has participated in several international biennales including PERFORMA 13, New York; 7th Göteborg Biennial; 4th Prague Biennial and 15th WRO Media Art Biennale.
   The project spans a series of paintings drawn from Radziszewski’s childhood illustrations, serving as a commentary on the political events taking place in Poland at the turn of 1989/1990 – as only a nine-year-old could. The scaled up drawings has been transferred straight from his sketchbooks onto the canvas: the iconic SOLIDARITY symbol, the heroes of those times set within a scene peopled by the typical juvenile imaginarium: mermaids, animals and princesses.