Bettina Samson (FR, 1978) graduated from Beaux-Arts in Lyon, lives and works in Aubervilliers, Paris. Her in situ installations, ceramic sculptures and photograms are nourished by references to pioneering experiences of modernity understood in its subaltern, subsidiary or forgotten forms. She is the author of La Vase et le Sel (2019), a public commission installation by Bordeaux Métropole in Bègles, a monumental, in situ and evolving sound and steam sculpture. Through the notions of organic continuity, reversibility and accident, the artist gradually sheds the conceptual approach of her work to try to gradually reveal its cathartic dimension, translating the intimate experience she recurrently does, since her birth, the exhaustion of breath and survival. Bettina reflects on ways of translating the radical effects of the concealment of pain, the abolition of bodily boundaries and gender inequalities fueled by medicine. It was in 2023 that she started an auto-fiction text, Les Batailles Nocturnes.

Georgia René-Worms (FR, 1988, Lives and works in Paris).
As a curator-writer, her work is structured around two main axes: documentary – generally focusing on feminist figures – and narrative. Each of her research projects and writings is conceived as a life experience in which intimacy and work intertwine. Since 2018, and drawing on her personal experience, she has been reflecting on the possibility of establishing a corpus, other than scientific literature, to address the history of sick bodies in an emancipatory gesture. Since 2022, she focused her curatorial practice on the exhibition and writing project Our Anarchic Bodies, where each of the works is a narrative or visual form revealing different strategies of visibility employed by artists and authors regarding their experiences with illness. She is currently working on an exhibition about the work of the British photographer Jo Spence.
Her work has been developed through residencies, exhibitions, and publications at CIAP Vassivière, Via Farini in Milan, Centre d’Art du Parc Saint Léger, Villa Champollion in Cairo, Generator-40mcube, Capacete, Villa Arson, Le Confort Moderne, Haus N Athens, and Alikinois. She was the recipient of the Art Writing Grant from the National Institute of Art History in 2021. In 2024, she will receive publishing support from the Centre National des Arts Plastiques and a curatorial grant from Fluxus Art Projects.

Laurie Charles (BE, 1987), lives and works in Brussels.
In her drawings, paintings, sculptures and videos, Laurie Charles depicts characters, symbols and situations inspired by reality or historical stories, of which she offers a feminist rereading. Drawing deeply from her own personal experience with an autoimmune disease, Charles creates largescale fabric pieces and soft furnishings that respond to ideas around the body through a macro lens. She undertakes to rewrite an alternative history of medicine to the one which has been engraved, where care, cycles, ecological disaster, and healing take precedence. Charles’ way of working is inextricably tied to her ways of living, as such the personal is always also political.
Among other venues, her work has been exhibited at CRAC Occitanie – Sète, Mécènes du Sud – Montpellier, Salon de Montrouge – Montrouge, Terzo Fronte – Roma, Wiels – Brussels, Efremidis Gallery in Berlin, Grazer Kunstverein – Graz, CIAP Kunstverein – Hasselt, 1646 – project space for contemporary art – The Hague, Nanjing International Art Festival – Nanjing, Beursschouwburg – Brussels, Komplot – Brussels, and Le Commissariat – Paris.

Vanessa Desclaux (FR-1981)
Lecturer at the Ecole Nationale d'Art de Dijon since 2011, Vanessa Desclaux is a curator and an art critic. With a PhD in Curating (Goldsmiths, University of London), she combines research and teaching with a transdisciplinary curatorial practice. With artist Agnès Geoffray they are currently developing a project exploring the history of girls imprisoned in France throughout the XXth century. Entitled elles obliquent elles obstinent elles tempêtent, this project articulates an exhibition, a book and a lecture-performance.
Vanessa Desclaux has worked in various art institutions in France and Great Britain (Tate Modern, Frac Nouvelle-Aquitaine MECA) and, as an independent curator, has collaborated on projects in different venues in France and Europe (de appel arts center, Amsterdam; If I Can't Dance, Amsterdam; Bloomberg Space, London; la Galerie, center d'art de Noisy-le- Sec; Frac Franche-Comté; CRAC Alsace; RMN-Grand Palais).

Won Jin Choi (KR/FR, 1988) is an independent curator and professor at the Beaux-Arts of Marseille. She collaborates with various institutions across Europe while leading independent initiatives. Her practice centers on collaborative partnerships with artists, with a particular focus on site-specific exhibitions. Through a combination of research, production, and writing, she weaves poetic narratives that bridge artistic positions, places, and architecture. Co-founder and co-director of the independent exhibition space Belsunce Projects since 2018, she also serves on SYSTEMA's curatorial committee. Additionally, she coordinates Écumes, a program in partnership with Dos Mares – International Art Research Center, since 2023.

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