Claire Fontaine is a Palermo-based collective artist, founded in Paris in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a "readymade artist" and began to elaborate a version of neo-conceptual art that often looks like other people's work. Working in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity that seem to define contemporary society today. But if the artist herself is the subjective equivalent of a urinal or a Brillo box - as displaced, deprived of its use value, and exchangeable as the products she makes - there is always the possibility of what she calls the "human strike." Claire Fontaine grows up among the ruins of the notion of authorship, experimenting with c o l l e c t i v e p r o t o c o l s o f p r o d u c t i o n , détournements, and the production of various devices for the sharing of intellectual and private property. In 2020 she has published with Semiotext(e) an anthology of her writings entitled Human Strike and the Art of Creating Freedom.

Ilaria Mancia is a curator, organizer and dramaturg within performance arts and theatre. She is currently curator and head of educational projects, residency program and performative events at Mattatoio in Rome - Azienda Speciale Palaexpo. In this contest she is curating since 2020 Prender-si cura, an artistic research and production residency project, and she curated the PACS 2020-21 Master in Performing Arts and Community Spaces and the MAP_PA 2022 Master in Performing Arts. In the summer of 2020 she curated Gaia-Thirst and in the summer of 2021 re-creatures, projects of video installations, environmental installations, performances, concerts, workshops and encounters in the Mattatoio’s interior and exterior spaces. She has worked with different national and international artists and theatre-dance companies and at various international performing arts and theatre festivals. Graduated in Philosophy (Aesthetics), at Bologna University, she obtained the Master degree in Science and techniques of live entertainment from University of Parma.

Edoardo Bonaspetti is founder and co-director of Ordet, an exhibition, research and production platform for contemporary art in Milan and founder and co-director of the publishing house Lenz Press. Since 2019 he has been artistic director of the Fondazione Henraux whose mission is aimed at artistic experimentation and the promotion of marble tradition and workmanship. From 2019 to 2020 he was editorial director at Skira and from 2014 to 2018 curator of the Department of Visual Arts at La Triennale di Milano. He founded the contemporary art magazine Mousse in 2006, the publishing house Mousse Publishing in 2009 and the communication agency Mousse Agency in 2011, directing them until 2018. Together with Andrea Lissoni and Filipa Ramos in 2013 he created Vdrome, an online platform for artists' films and videos. He has organised numerous exhibition projects, collaborating with artists such as Neïl Beloufa, Ian Cheng, Marc Camille Chaimowicz, Thea Djordjadze, John Knight, Ghislaine Leung, Liliane Lijn, Diego Marcon, Michael E. Smith, Walter Swennen, Luke Willis Thompson, Samson Young and Christopher Williams. For dOCUMENTA (13) he developed projects and workshops in Kabul, Afghanistan (2012). Between 2009 and 2010 he was co-editor and contributor for the Art section of Domus. He has lectured at the Academy of Fine Arts in Milan, NABA, IULM and teaches the Master in High Education in Contemporary Image at the Fondazione Fotografia of Modena. 

Darren Bader (b. 1978, Bridgeport, CT) studied filmmaking and art history at NYU (BFA,2000). He lives and works in New York and in transit. Bader’s conceptual hobbyhorses include: word works, pairings, impossible sculpture, misattribution, object fetishism, and trash sculptures. His exhibitions are often collaborative in nature, exploring and questioning the interconnectedness of seemingly disparate objects through complex (re)arrangements, surprise juxtapositions, and absurd associations. Institutional solo exhibitions include fruits, vegetables; fruit and vegetable salad, Whitney Museum of American Art, New York, NY (2020);(@mined_oud), Madre, Naples, Italy (2017-2018); Meaning and Difference, The Power Station, Dallas, TX (2017); chess: relatives, High Line Art, New York, NY (2017); light (and) regret, Kölnischer Kunstverein, Cologne, Germany (2015); Where Is a Bicycle’s Vagina (and Other Inquiries), or Around the Samovar, 1857, Oslo, Norway (2012); and Images, MoMA PS1, New York, NY (2012). Awarded the Calder Prize in 2013, Bader has taken part in numerous group exhibitions and biennials including58th Venice Biennale, Venice, Italy (2019);Stories of Almost Everyone, Hammer Museum, Los Angeles, CA(2018); .com/.cn, K11 Art Foundation Pop-up Space, Hong Kong, China (2017); One, No One and One Hundred Thousand, Kunsthalle Wien, Vienna, Austria (2016); 13éme Biennale de Lyon: La vie moderne, Lyon, France (2015); Under the Clouds: From Paranoia to the Digital Sublime, Serralves Museum of Contemporary Art, Porto, Portugal (2015); Whitney Biennial, Whitney Museum of American Art, New York, NY (2014); Antigrazioso, Palais de Tokyo, Paris, France (2013); Empire State, Palazzo delle Esposizioni, Rome, Italy (2013); Greater New York, MoMA PS1, New York, NY (2010); and To Illustrate and Multiply: An Open Book, Museum of Contemporary Art, Los Angeles, CA (2008). 

Bonnie Camplin, born 1970 in London, lives and works in London. Her work has been shown at, among others, Portikus, Frankfurt; at Tate Britain, London, at Camden Arts Centre; at Cabinet London; at Michael Benevento, Los Angeles; Galerie Cinzia Friedlaender, Berlin; at the Institute of Contemporary Arts, London; at Marres Centre for Contemporary Art, Maastricht; at Chisenhale Gallery, London. In 2015 she was nominated for the Turner Prize. Camplin currently teaches at Goldsmiths College, London.