Daniel Blaufuks (Lisbon, Portugal, 1963) 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.

Tatiana Macedo (Lisbon, Portugal, 1981) works mainly with Photography, Film and Installation on their expanded fields.  In 2020 she was the artist in Focus at the Festival Interseccion – Contemporary Audiovisual Art Festival that has dedicated three days to the screening of her video work and film. In 2015 Macedo won the First Sonae Media Art Award with the Video-installation 1989. Her debut film, Seems So Long Ago, Nancy (2012), shot at Tate Britain and Tate Modern, London, was screened in International Film Festivals and Art Galleries, including DocLisboa (2012), the Stedelijk Museum Bureau (Amsterdam, 2012) and Tate Britain (London 2012 / 13). The film won the first SAW Film Prize by the American Anthropological Association - AAA (Washington-DC, 2014).Recent solo shows include Soundtrack for the Deaf at CAV Coimbra (2021), I Have Never Seen A. at Nano Galeria (2020), Afri-Cola at Carlos Carvalho Arte Contemporânea (2019), Esgotaram-se os Nomes Para as Tempestades #1 e #2 at Culturgest Porto, curated by Delfim Sardo, Porto (2018) and Appleton Square (2019), Avenida da Liberdade at Museu do Aljube, Lisbon (2017), Orientalism and Reverse at Carlos Carvalho Contemporary Art, Lisbon (2017), Mixed Feelings / Exodus Stations at Iwalewahaus, Bayreuth (2017), Bela at Künstlerhaus Bethanien, Berlin (2016), Orientalism and Reverse at Kunstraum Botschaft, Berlin (2016), 1989 at MNAC - National Museum of Contemporary Art - Sonae Media Art Award, Seems So Long Ago, Nancy at Ano Zero - Coimbra Biennial of Contemporary Art (2015), Foreign Grey at Solar – Cinematic Art Gallery (Vila do Conde, 2014), Staff Only at MNAC - National Museum of Contemporary Art (Lisbon, 2013 / 14) and Seems So Long Ago, Nancy at Tegenboschvanvreden Gallery (Amsterdam, 2014).

Recent group shows include Natural Beauty (Lisbon Architecture Triennale 2019), Fiction and Fabrication. Photography of Architecture after the Digital Turn (MAAT, Lisbon, Portugal), curated by Pedro Gadanho and Sergio Fazenda Rodrigues, Cosmo/Política #3 curated by Sandra Vieira Jürgens and Paula Loura Batista at Museu do Neo-Realismo (Vila Franca de Xira, Portugal), ROHKUNSTBAU XXIII curated by Mark Gisbourne, Brandenburg (2017), Jeju Biennial of Contemporary Art, South Korea (2017), Visões do Desterro at Caixa Cultural do Rio de Janeiro (2013) and Jaz Aqui na Pequena Praia Extrema, Galeria Zé dos Bois, Lisbon (2013). Macedo was artist in residence at the Künstlerhaus Bethanien International Program in Berlin during the year of 2016, supported with the João Hogan Grant by the Calouste Gulbenkian Foundation.

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.)