Questioning the principle of cataloging, ordering, documenting and interpretating as a basis for the scientific knowledge in the world, Ricardo Angelico (Huambo, Angola, 1973) places in the art work's space a multiplication of a small disjointed narrative fragments, or whose connection is not easily seen. His work has been exhibited throughout Portugal and Spain such as in the exhibitions "Play", "The Aronburg Mystery", Carlos Carvalho Arte Contemporânea, "O Desenho Dito", Casa da Cerca – Centro de Arte Contemporânea, Almada, Portugal, "À volta do papel", Centro de Arte Manuel de Brito, Algés, "Portugal 100 artistas, Acervo. Artistas Portugueses en la Colección Navacerrada", Centro de Arte Alcobendas, Alcobendas, Espanha. His works are held in numerous public and private collections including Culturgest, Lisbon, Portugal, Fundação PLMJ, Lisbon, Portugal, Centro de Arte Manuel de Brito, Algés, Portugal, Colecção Navacerrada, Alcobendas, Spain, Ayuntamiento de Pamplona, Pamplona, Spain.

Born in Cuxhaven, Germany, in 1970, and raised in an artistic family, Jessica Backhaus is regarded as one of the most distinguished voices in contemporary photography in Germany today. Her work has been shown in numerous solo and group exhibitions, including the National Portrait Gallery, London, the Martin-Gropius-Bau, Berlin and the Kunsthalle Erfurt. To date, she has eight publications to her name; Jesus and the Cherries, 2005, What Still Remains, 2008, One Day in November, 2008, I Wanted to See the World, 2010, ONE DAY- 10 photographers, 2010, Once, still and forever, 2012, Six degrees of freedom, 2015 and A TRILOGY, 2017, all published by Kehrer Verlag, Heidelberg/ Berlin. Her work is also featured in the book: Women Photographers by Boris Friedewald (Prestel Verlag 2014). Jessica Backhaus’ works are in many prominent art collections including Art Collection Deutsche Börse, Germany, ING Art Collection, Belgium, Collection of the Museum of Fine Arts, Houston, USA and the Margulies Collection, Miami, USA. In 2012 FOAM Fotografiemuseum, Amsterdam produced a short documentary “Wonder Jessica Backhaus”, a film by Willem Aerts.

José Bechara (Rio de Janeiro, Brazil, 1957) works on a wide field of research such as space, volumetry, surface, composition showing the result of his investigation through a series of work using painting, drawing, sculpture, photography and installation. The artist often reuses truck canvas tarps, manipulates oxides of carbon, copper and steel to produce diptychs, triptychs or polyptics with different intensities exploring cores, lines and patterns.

The artist had shown his work in various institutions such as: Eva Klabin Foundation, Brazil; Culturgest, Portugal, MEIAC, Spain; Valencian Institute of Modern Art, Spain; MAM Rio de Janeiro, Brazil; Tomie Ohtake Institute, Brazil; Ludwig Museum, Germany, Haus der Kulturen der Welt, Germany; Ludwig Forum Fur Intl Kunst, Germany, and Calouste Gulbenkian Foundation, Portugal, among others. He is represented in several collections such as MAM RJ, Gilberto Chateaubriand Collection, Brazil, Center Pompidou, France, Pinacoteca do Estado de São Paulo, Museu Brasil or Ludwig (Koblenz), Germany.

Daniel Blaufuks uses mainly photography and video, presenting his work through books, installations and films. He has a predilection for issues such as the connection between time and space and the intersection between private and public memory. The artist has exhibited widely in group and solo shows throughout Portugal and internationally in Spain, France, UK, Germany, Italy, Switzerland, Mexico, USA and Brazil. Blaufuks’ work is held in many public collections, including those of the Byrd Hoffman Foundation, New York, Centro de Arte Moderna da Fundação Calouste Gulbenkian, Lisbon, Centro Cultural de Belém, Lisbon, Centro Galego de Arte Contemporânea, Santiago de Compostela, Colecção BES, Lisbon, Fundação PLMJ, Lisbon, MEIAC, Badajoz, Museu de Arte Contemporânea, Funchal, Museu de Arte Contemporânea - Colecção Berardo, Sintra, Palazzo delle Papesse, Siena, Sagamore Art Collection, Miami and The Progressive Collection, Ohio. Among other awards, he was nominated for the Deutsche Börse Photography Prize (2007, 2015), shortlisted for the Pilar Citoler Award, 2007 and the European Photography Award, 1996. In 1990 he won the Kodak National Award, in 2007 the BES Photo Award, and in 2016 Daniel Blaufuks the AICA - International Association of Art Critics Award for Visual Arts.

Susana Gaudêncio lives and works in Oporto, Portugal. Most notably solo and group exhibitions include “Objectos de companhia para um mundo aparentemente contínuo” (Carlos Carvalho Arte Contemporânea . Lisboa Lisbon, Portugal, 2017),  “Época de estranheza em frente ao mundo” (Museu Nacional de Arte Contemporânea/Museu do Chiado . Lisboa Lisbon, Portugal), “A lei de Ohm” (Museu da Electricidade, Lisboa Lisbon, Portugal, 2014), “Portugal em Flagrante/ Operação 1” (Centro de Arte Moderna Fundação Calouste Gulbenkian. Lisboa Lisbon Portugal), “As Margens dos Mares” (comissariado por curated by Agnaldo Farias, SESC Pinheiros, São Paulo, Brasil Brazil). The artist is represented in many public and private collections such as Fundação Coca-Cola, Espanha Spain, Fundação PLMJ, Portugal and Fundação Calouste Gulbenkian, Portugal.

Marguerite Bornhauser's (1989, Paris) work has been shown at the museum of European Photography in Paris and Paris Photo in 2019, in the streets of Cincinnati for the Cincinnati Art museum, in Arles during the festival of Photography, in Deauville during the Festival Planches Contact, at BETC agency, Agnès B, in the festival MAP Toulouse, in London, etc. Marguerite Bornhauser adds editorial work to her photographic research. Her first book, Plastic Colors, was selected among the finalists of the first book award of Mack books in 2015 and published in 2017. Her book "8" was published by Poursuite in 2018. In 2019 she published Red Harvest with the same publisher. She also collaborates with french and international magazines and newspapers as a photoreporter and portrait photographer as well as a fashion photographer. Red Harvest, Poursuite Editions, 2019, 8, Poursuite Editions, 2018, Plastic Colors, Les Editions du Lic, 2017, Carnet de Résidence du Hameau des Baux, Poursuite Editions, 2017, Fisheye photobook, 2017, 8, Self published, 2016, Festival de créations photographiques à Deauville Edition 6, Filligranes Editions, 2015, Echappées Belles, Edition Diaphane, 2015, Plastic Colors, Self published, January 2015. In 2020 she won the Photo London x Nikon Emerging Photographer of the Year Award.

Carla Cabanas’s (Lisboa, 1979) work revolves around the methodologies of stretching the defined borders of the photography medium while dwelling on the issues of collective and cultural memory. She has presented her work in numerous solo and group exhibitions including MAAT Museu de Arte, Arquitectura e Tecnologia, Lisbon (2020); Balcony Contemporary Art Gallery, Lisbon (2020); Museu Coleção Berardo, Lisbon (2020); Aa Collections Gallery, Vienna (2019); Sternstudio Gallery, Vienna (2019); Arquipélago – Centro de Artes Contemporâneas, Ribeira Grande, Açores (2019); Museu Coleção Berardo, Lisboa (2019); Biennale de l’Image Tangible, Paris (2018); Grimmmuseum, Berlin (2018); Centre D’art Contemporain, Meymac, France (2018); GlogauAIR, Berlin (2018); Fundação Eugénio de Almeida, Évora (2017); Gallery Carlos Carvalho – Arte Contemporânea, Lisbon (2017); Castello Visconteo Di Legnano, Milan, Italy (2017); Panal 361, Buenos Aires, Argentina (2017); Ox Warehouse, Macau, China (2016); Carpe Diem Arte e Pesquisa, Lisboa (2015); Lisbon Municipal Photographic Archive, Lisbon (2014); City Museum, Lisbon (2014); 7ª Biennial São Tomé e Príncipe (2013); National Museum of Natural History and Science, Lisbon (2012); Círculo de Bellas Artes, Madrid (2012) and CCCB – Centre de Cultura Contemporània de Barcelona (2009).

Her work is held in prominent collections, including the National Gallery of Art Washington, DC; Luso-American Development Foundation (FLAD), Lisbon; LPS Collection (Stanislas y Leticia Poniatowski), Colección Kells, Santander; PLMJ Foundation Collection, Lisbon; Novo Banco Art Collection, Lisbon; Banque Privée Edmond de Rothschild Europe, Lisbon; Lisbon City Hall, Lisbon; Figueiredo Ribeiro Collection, Lisbon; Marín Gaspar Collection, Lisbon; José Carlos Santana Pinto Collection, Lisbon; and other private collections.

To Manuel Caeiro (Évora, Portugal, 1975), the representation of space is made through forms that unfold spacial rhythms and modulations and on the understanding of drawing as a vehicle of experience, action and conceptualization. The effect of layer repetition and overlap incorporates a sculptural character through the representation of the surface. From his solo exhibitions we can distinguished the ones that took place at the Palácio Vila Flor, Guimarães and Carlos Carvalho Gallery (Backstage of Light, 2013; Welcome to my Loft, 2007). His most prominent group shows include: A Casa Ocupada (Casa da Cerca, 2014); La Colección (Fundación Barrié, A Coruña, 2010; 2011); Terceira Metade curated by Marta Mestre and Luiz Camillo Osório (MAM, Rio de Janeiro, 2011); Fiat Lux – Iluminación y Creación curated by Paulo Reis (MACUF, Coruña, 2010); Parangolé: Frag. desde los 90 en Brasil, Portugal y España (Patio Herreriano, Valladolid, 2008); Surrounding Matta-Clark, 2006; and Building Rooms (Carlos Carvalho, 2008). His works are included in many public collections such as Culturgest Collection, PLMJ Foundation Collection, and Manuel de Brito Collection.

After obtaining a first degree in Modern Languages and Literature (Coimbra University, Portugal), José Maçãs de Carvalho (Anadia, Portugal, 1960) completed a postgraduate course in Management of the Arts (Institute of European Studies in Macau, 1998) in Macau where he taught and lived from 1994 to 1999. He obtained a Phd in Contemporary Art at  Colégio das Artes, University of Coimbra, Portugal, in 2014.

He teaches at the University of Coimbra, in the Architecture Department and Colégio das Artes where he is the Supervisor of the Master degree in Curatorship. Since 2020 he is the curator of the Coimbra Contemporary Art Center.
He has received scholarships from Fundação Gulbenkian (1994), Fundação Oriente (1999-2001), Instituto Camões (2001) and Centro Português de Fotografia (2003). He has works (photographs and videos) in several public and private art collections .

He was both curator and participant in the exhibition My own private pictures (Plataforma Revólver, LisbonPhoto Biennial, 2005), which lay at the origin of his nomination for the BES Photo Prize in 2005 (most important prize for photography in Portugal).In 2008 was shortlisted for the Pictet Prix (Suisse Bank Award for Photography).

He´s been showing photography since the early 90s  and video since the 2000s. In 2013 showed videos in New York and Paris ("Fuso NY”, Union Square Park, and “Chantiers d´Europe”, Theatre de la Ville), and in 2011 in Oslo (“When a painting moves...something must be rotten!”, Stenersen Museum). Between 2011 and 2017 set up seven exhibitions as a practical project for his doctoral programme around the subject of archive and memory at CAV, Coimbra; Ateliers Concorde, Lisbon and Colégio das Artes, Coimbra; VPF gallery, Lisbon; The City Hall Photographic Archive, Lisbon, Museu do Chiado and MAAT Museum in Lisbon and a book, “Unpacking: a desire for the archive”, was published by StolenBooks. In 2015, a book of photographs, “Partir por todos os dias”, was published by Editora Amieira. In 2016 his photographic work about Oporto university campus was published on a book called “Aspela” by Scopio Editions and Oporto Polytechnic Institute.

In 2016 the book “Archive and Apparatus” was published by  Centro de Arte de S. J. da Madeira and in   2017 also the book “Archive and Interval”, by Stolen Books/Colégio das Artes-Universidade de Coimbra and MAAT Museum, with contributions by Pedro Pousada, José Bragança de Miranda, Adelaide Ginga and Ana Rito.

Catarina Leitão (Stuttgart, 1970) is an artist working in drawing, sculpture, installation, and artist books. The artist has exhibited her work at P.S.1/MoMA, the Aldrich museum, Connecticut, Socrates Sculpture Park, Wavehill, Glyndor Gallery and Grounds, Andrea Rosen Gallery, the Bronx Museum, Pedro Cera Gallery, Carlos Carvalho Contemporary Art, among others. She had solo museum shows at the Berardo Collection, Sintra, and Gulbenkian Foundation, in Lisbon, Portugal. Awards and residencies include The New York Foundation for the Arts Fellowship, 2009, Center for Book Arts, 2007, The Triangle Arts Residency, 2006, Marie Walsh Sharpe Foundation, 2004, Lower Manhattan Cultural Council, 2003, and The Pollock-Krasner Foundation Grant, 2001, Fundação Calouste Gulbenkian and Fundação Luso-Americana, 1997-1999. Catarina Leitão has an MFA from Hunter College (2000), and a Painting degree by the University of Lisbon, Portugal (1993).

Mónica de Miranda (Porto, 1976) is an artist and researcher, her work is based on themes of urban archaeology and personal geography. She works in an interdisciplinary way with drawing, installation, photography, film, video and sound, in its expanded forms and in the boundaries between fiction and documentary.
She exhibits regularly and internationally since 2004 being nominated for Prix Pictet Photo Award (2016), Novo Banco Photo Prize (2016) and EDP New Artist prize (2019). She will represent Portugal at the Venice Biennial 2024.
Her solo exhibitions include: no longer with the memory but with its future" (Oratorio di San Ludovico, Veneza), “Taxidermy of the Future” (Museu de História Natural de Luanda, Angola, 2020), "Geografia Dormente" (Galeria Municipal de Arte, Almada, Portugal, 2019), “Tomorrow is Another Day” (Carlos Carvalho Arte Contemporânea, Lisboa, 2018),“Panorama” (Banco Económico de Luanda, Luanda, 2019;“Hotel Globo” (Museu Nacional de Arte Contemporânea do Chiado, Lisboa, 2015), “Arquipélago” (Galeria Carlos Carvalho, Lisboa, 2014).
Her collective exhibitions include: "RE/SISTERSA Lens on Gender and Ecology“ (Barbican Art Gallery, 2023), "Berlin Biennial" (Berlin, 2023), "Europa Oxalá" (curated by António Pinto Ribeiro, Katia Kameli and Aimé Mpane, Calouste Gulbenkian Foundation, 2022), "Dissonances" (MNAC, Lisboa, 2021), "Fotofest Biennial 2020", Houston, EUA, “Utopía y Distopias en el paisaje contemporáneo”, (MAAC, Guayaquil, Equador, 2019), “Taxidermy of the Future” (Bienal de Lumbumbashi, Congo, 2019), “EDP New Artists Prize”, (MAAT, Lisbon, Portugal, 2019), “Fiction and Fabrication. Photography of Architecture after the Digital Turn”, (MAAT. Lisbon, Portugal, 2019), “Doublethink: Doublevision” (Pera Museum, Istambul, Turkey, 2017), “Daqui Pra Frente” (CAIXA Cultural. Rio de Janeiro, Brazil), “Le jour qui vient" (Galerie des Galeries, Paris, France, 2017), “Arte Africana Contemporânea e Estética das Traduções” (Bienal de Dakar, Dakar, 2016); “Bienal Internacional de Arte Contemporânea de Casablanca” (Casablanca, Marrocos, 2016), “Addis Foto Fest” (Addis Abeba, 2016), “Telling Time” (Rencontres de Bamako Bienal Africaine de la Photographie edição 10 éme, Bamako, 2015); “Ilha de São Jorge” (14ª Arquitectural de Veneza, 2014); “Linha de Armadilha” (São Tomé e Príncipe Biennial, 2013), “Do you Hear Me?” (Estado do Mundo, Fundação Calouste Gulbenkian, Lisboa, 2008); 
Her work is represented in private and public collections such as Fundação Calouste Gulbenkian, Portugal, Museu Nacional de Arte Contemporânea do Chiado (MNAC), Lisboa, Portugal, MAAT, Lisbon, Portugal, Arquivo Municipal de Lisboa, Portugal, 21c Museum Hotels, Louisville, Kentucky, USA, Soho House, London, UK, Colección Alma Colectiva, Guadalajara, Mexico, Nesr Foundation, Luanda, Angola and PLMJ, Lisbon, Portugal, among others.

Noé Sendas (Brussels, Belgium, 1972) lives and works in Berlin, Madrid and Lisboa. Sendas began presenting his work in the late Nineties. Explicit and implicit references to artists and literary, cinematic or musical creations are part of his raw materials. Specific concerns about the reflection and practise of visual arts can also be added to his repertoire. These include: the body, as an entity that is simultaneously theoretical and material; the observer’s perception mechanisms; or the discursive potential of exhibition methods.

His work has been shown in numerous solo and group exhibitions, including CAV Center for the Visual Arts, Coimbra, PT; Contretype – Centre d’art contemporain pour la Photographie, Brussels.B; Porto’s Municipal Gallery, Porto, PT; Multimedia Art Museum (MAMM), Moscow; Maat Museum, Lisboa; Kunstraum Botschaft, Berlin Calouse Gulbenkian Museum, Lisboa; MEIAC Museu Extremeno e Iberoamericano de Arte Contemporaneo Badajoz; C/O Berlin Foundation, Berlin; MNAC The National Museum of Contemporary Art-Museu do Chiado, Lisbon, DesignhausDarmstadt, Darmstadt, DE; VAC-Visual Arts Center at the University of Texas, Texas, USA; Patio de la Infanta - Ibercaja, Zaragoza, SP; Goethe-Institut/ Instituto Cervantes, Stockholm; TENT, Rotterdam, ND; CAHO-Centro de Artes Helio Oiticica, Río de Janeiro, BR; Museo de Arte Contemporáneo Gas Natural Fenosa, La Coruña, SP; Museu Fundación ICO, Madrid.ES; Kunstmuseum Bonn, G; Akademie der Kunst, Berlin (a.o.)

Work by the artist is held in prominent collections, in North and South America and Europe such as Calouste Gulbenkian Foundation Collection, Lisbon; EDP Foundation Collection, Lisbon; Contretype Centre d`Art Contemporain pour la Photographie Collection, Brussels; CAV Foundation Collection, Coimbra, PT; Caixa Geralde Depósitos Art Collection, Lisbon; MEIAC Museum Collection, Badajoz, SP; MAR – Museu de Arte do Rio, Rio de Janeiro, Brazil; Susanne von Meiss Collection, Sw; Charlotte Olympia, London;  NOVO BANCO Art Collection, Lisbon; DGARTES Instituto das Artes Collection, PT.

Among the approximately 45 solo exhibitions he has held, the highlights are 'Trash - Artist's Trash', at Museu Coleção-Berardo, 2019, 'Pires Vieira Antológica', from painting to painting, at MNAC - Chiado and Fundação Carmona e Costa, 'Faites vos jeux, Rien va Plus' at Sala do Veado at MNHN, 'Like a Painting - Up Close... It is a Big Mess', at Appleton Square, in Lisbon; 'Pires Vieira', at the White Pavilion of the City Museum; 'Talk to Me', at CAM-Fundação Calouste Gulbenkian, 'Geometries' at Fundação Museu das Comunicações. Refering to his group shows we have to distinguish 'Stories: Works from the Serralves Collection', Serralves Museum; 'Permanent Exhibition (1969/2010)', Berardo Museum, CCB; 'One Path, Two Directions', at MNAC/CHiado; 'Language and Experience', at the Palácio do Egipto Cultural Centre, at the Grão Vasco Museum and at the Aveiro Museum; 'Alternativa Zero', at the National Gallery of Modern Art, organized by Ernesto de Sousa. He is represented in numerous collections such as: CAM-Fundação Calouste Gulbenkian, MNAC/Chiado, Culturgest/CGD, Colecção/Museu Berardo, Fundação/Museu de Serralves.