Fermín Jiménez Landa (Pamplona, 1979) uses different languages - drawing, photography, installation or video - to investigate everyday approaches that he extracts from the daily routines of the public and social space, basically the street and the Internet. 

An euphoric illusionism devoid of all power that, from the productive use of the absurd, enthusiastic (but not naïve) precariousness and the overcoming of the normative, proposes a work defined by a disbelieving and joking conceptualism that focuses its attention on the capacity of art to have a micro-political impact. Or, to put it another way, his work consciously forces the ridiculous under the parodic and anti-heroic mission of generating temporary fissures in our rhythms of life and thus altering what we believed to be certain. 

Jiménez has exhibited at the Manifesta 11 biennial, at the Artium, Musac, CA2M, Azkuna zentroa and Oteiza museums, at Künstlerhaus Bethanien, MAZ in Zapopan, at Centro Botín, La casa Encendida and at galleries such as Moisés Pérez de Albéniz, Travesía Cuatro, Nogueras Blanchard and Ángels Barcelona. He has worked with Consonni, 1646 in The Hague and HIAP in Helsinki. 

Okka-Esther Hungerbühler, born in Bonn, lives and works in Berlin and Brandenburg. She studied at the University of the Arts in Berlin and the Cooper Union in New York. She works with both painting and sculpture to explore different themes. In her paintings, Hungerbühler returns to the shape of the „princess dress“, which she uses abstractly, and depicts rooms as colored sketches of interiors. Her sculptures are creature-like, with a highly simple body shape composed of decorative materials.

Her works have been shown in solo exhibitions at (selection): artothek Cologne: The Bark Beetle 2022, at Kunstverein Dresden: Nose 2022, at Galerie Haverkampf Leistenschneider Berlin: One Step Away from the Truth 2022, I Show Myself from the Most Advantageous Side 2019; at Sangt Hipolyt, Berlin: Okka’s Kleider 2021; at Schwartzsche Villa, Berlin: Okka-Esther Hungerbühler, the Lazy Nut 2019; at Avlskarl Gallery, Copenhagen: Balloon trapped in airport sculpture 2023 and Empty bars from above 2018. 

She has been represented in various group exhibitions (selection): Über Brücken-Bridging Cologne; Forum Schlossplatz Aarau, Zurich; Elektrohalle Rohmberg, Salzburg; Haus am Lützowplatz, Berlin; Galerie Wedding, Berlin; KW institute for contemporary art, Berlin; Galerie Senn, Vienna; Mumok, Vienna; Hidari Zingaro, Tokyo.

In 2014, Okka-Esther Hungerbühler was awarded the Berlin Art Prize. In 2017, she received the Villa Concordia Prize in Bamberg. In 2018, she was nominated for the Strabag Art Award and in 2021 she received the research grant from the Berlin Senate. In 2023, she received the scholarship from the Senate Department for Culture and Europe Berlin in New York City.

Nadira Husain (She/her, Berlin (DE), Paris and Basque Country
(FR), Hyderabad (IN)).

Her work explores visual forms related to issues of
post-migration, transculturality and cultural hybridity. Her practice begins
with painting, where she draws on heterogeneous interpretations of art
histories beyond the Eurocentric perspective. By appropriating symbols and
stories from different cultural registers connected to her own multicultural
background, she follows logics of assemblage, connectivity and relationships in
form and narrative. References to Mughal miniatures meet European comics and
join anthropomorphic beings from furry fandom who immerse themselves in Sufi
Islamic culture. In the flattening of fore- and background, perspective and
scale, Husain’s paintings eliminate inherent formal hierarchies. Her paintings
often unfold into spatial installations where the notion of a centre is swept
away.

Besides her art practice, she works as a guest professor at the
Berlin University of the Arts, where she co-teaches with Marina Naprushkina
since 2021, and is a lecturer and a mentor at *foundationClass at the
Berlin-Weissensee Art Academy since 2017. She is regularly involved in
self-organized collective initiatives and projects that are grounded in
anti-racist and intersectional ethos in the field of art.

Recent exhibitions include

’Buti Blossom’, PSM, Berlin, 2024;

‘Burning down the House - Rethinking Family’, Kunstmuseum St.
Gallen, 2024;

‘Wer wir sind’, Bundeskunsthalle, Bonn, 2023;

‘Terra Recognita’, Mariane Ibrahim Gallery, Chicago, 2023;

‘Manzil Monde’ Mathildenhöhe, Darmstadt, 2022; 

documenta 15, *foundationClass*collective, Kassel 2022;

‘Confluence Sangam संगम’,
Heidelberger Kunstverein, Heidelberg, 2020;

 Recent publications include:

Manzil Monde, DCV, 2022

Nadira Husain, Bierke, 2020

Born in 1976 in Orihuela (Spain), her relationship with the coast and the limits of space as well as her visits as a child to the shipyards of Cartagena (Spain) and the mines of La Union, marked her themes of history, war, coast and mining and their relationship in the landscape and the processes of change on it.

Visual artist and Extraordinary Doctorate Award in Fine Arts from the Complutense University of Madrid. Since 2005 she has been developing her professional activity between Europe and Latin America through collaborations with museums, art galleries and workshops in different universities in the American continent and in Spain. 

She has received scholarships from the Spanish Academy in Rome, the Botín Scholarship and the Fundació Miró Mallorca. She has been invited and has received commissions from institutions such as the Ministry of Culture and Sports, Spain; AC/E, Acción Cultural España; Agencia Española de Cooperación Internacional para el Desarrollo (AECID); Manifesta, International Foundation Manifesta (IFM), Holland (2010-2011); Plat(t)Form, Winthertur, Zurich; Ministerio de las Culturas, las Artes y el Patrimonio, Chile; or the ArtCenter/South Florida, Miami. 

She develops her work and research in different media: archive, photography, painting, installation, publications, drawing and video. She analyzes the relationship between science, technology and art, as well as the creation of documentation methodologies developed since 2001 at the M.O.MA, New York; Tate Britain, London or the Centre Georges Pompidou in Paris, among others. In recent years she has carried out projects at the Fundació Miró Mallorca, at the MAVI. Museo de Artes Visuales in Santiago, Chile or at the Museo Vostell Malpartida de Cáceres on art and geology. 

Her work is present in collections such as the C.A.2M. Centro de Arte Dos de Mayo Madrid; Fundación BBVA; Fundación AENA; Real Academia de España en Roma; UNICAJA or IVAM, Valencia as well as in private collections in the United States (Whitney Museum’s Board Member, NY), Latin America (MAC Museo de Arte Contemporáneo de Santiago de Chile) and Spain (Seguros DKV).